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Damsel Recensione

Damsel Review: a Millie Bobby Brown fantasy on Netflix.

We previewed Damsel, a new Netflix fantasy film starring Stranger Things star Millie Bobby Brown: the review

After the double dose of science fiction between Spaceman with Adam Sandler (if you missed it, here is the Spaceman review) on the on-demand streaming platform Netflix and Denis Villeneuve’s Dune 2 in theaters, we leave the distant planets and spidery aliens of deep space to discover an unprecedented fantasy world in Damsel, a new film starring the young actress Millie Bobby Brown, on her umpteenth collaboration with Netflix, after becoming famous with the TV series Stranger Things and having played the lead role in the saga of Enola Holmes (soon, speaking of science fiction, we will also see her again in The Electric State, new movie by the Fratelli Russo also coming soon to Netflix).

The star is called upon to play the role of a damsel who, in the narrative context of a medieval fantasy, for the honor of her family she agrees to marry the prince of the realm, which would lift the fortunes of her family (her father Ray Winstone and his partner Angela Bassett, because even in this champion of inclusiveness, white mothers must die to make way for second wives of other ethnicities). However, surprise is just around the corner, because the marriage is actually a big hoax: the royal family chose the protagonist not as heir to the throne but as a sacrifice to repay an ancient debt. Soon after the wedding, in fact, the newcomer is thrown into a cave inhabited by a fire-breathing Dragon who is part of the dark past of the kingdom’s dynasty of rulers.

Damsel, the Netflix trailer

Damsel: the anticipated twist

We know what you are thinking: once again Freaking News has made spoilers, revealing the ending of the film. But no: this twist is in fact the focus of the official trailer for Damsel, and while watching it, it seemed to us that the great weakness of this original fantasy was precisely its marketing campaign, which was all too revealing about plot development and obsessed with flaunting the dogmas of female empowerment (a topic obviously at the heart of the work but which Damsel itself develops well on his own).

Consequently, despite the first part spends about 40 minutes building up the anticipation for the big wedding of the damsel and the prince, the ‘Psycho-like twist’ effect anticipated by the trailer and any promotional interview and edited – sequence after sequence – to trick us, disappears altogether upon its actual occurrence. And that is a pity, because after those initial 40 minutes, in which the viewer just waits for the real beginning of the movie, Damsel turns out to be an excellent fantasy, full of staging ideas and great pacing tending toward survival thriller-horror (not surprisingly, the direction is by Juan Carlos Fresnadillo, the director of Intacto and 28 Weeks Later).

Damsel Netflix

Also very good is the use of the dragon, which cannot risk comparison with Peter Jackson’s Smaug from The Hobbit in terms of technical achievement, and then for much of the story comes used like the monster in Alien or like Jaws, often far from the frame to increase its sense of constant ambush. A film that ultimately succeeds in surprising, but perhaps not in the way its story hopes to do.

Matteo Regoli

critica i film, poi gli chiede scusa si occupa di cinema, e ne è costantemente occupato è convinto che nello schermo, a contare davvero, siano le immagini porta avanti con poca costanza Fatti di Cinema, blog personale

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