Like many of you, I grew up with a well-worn book of fairy tales that were read to me nightly with hidden morals that only became evident as I grew older. Kindness, fairness, and acceptance were common threads found in these stories, and the happy endings for the characters were the reward for the lessons learned after some heroic journey or toil. Of course, we know now that most of these literary works were sanitized versions of darker visions from the authors cleaned up to put kids to bed with serenity, not terror. My whole world was upended when I read the original ending of Cinderella, with numerous body parts cut off and birds pecking eyes. (Those poor stepsisters – yes, I said it!)

Many of these timeless tales have been adapted for film or television (thank you, Shelley Duvall and Faerie Tale Theatre, for most of them!). Still, it’s rare to see a movie that actively harks back to the eternal charm of children’s bedtime stories. Beckoning us to embark on an excursion steeped in the gauzy enhancement of nostalgic whimsy, Riddle of Fire emerges as a curious fable from writer/director Weston Razooli. Possessing an intelligent understanding of the retro bygone days, it’s strikingly contemporary in its sensibility, but it’s definitely not for everyone.

An introductory prologue sets the scene for Razooli’s nod to Grimm’s fables and Andersen’s tales, finding three inquisitive youngsters, Hazel (Charlie Stover), Jodie (Skyler Peters), and Alice (Phoebe Ferro), breaking into a local warehouse to acquire a gaming system they hope to play while Hazel and Jodie’s mom (Danielle Hoetmer) recovers from illness in bed. Finding the TV locked and requiring a parental code, they ask for it only to be turned away – they are in the middle of a beautiful Wyoming summer, after all, and should be outside. (The film was shot in Utah, by the way.) The only way the mom will be swayed is if she could have a slice of her favorite blueberry pie – and the children are more than happy to secure it if it means game time.

What begins as a quest for this coveted blueberry pie quickly spirals into an adventure overflowing with mystical encounters and fantastical escapades. Their errand-turned-odyssey will take the three intrepid youngsters through a landscape fraught with perils, twists, and turns, all set against the rustic backdrop of the pine-covered mountains. (If you didn’t want to go camping before this, get ready to pack your tent.)  Along the way, they’ll encounter determined witch Anna-Freya Hollyhock (Lio Tipton, Vengeance) and her family of followers, outwit calculating huntsman Johnny Redrye (Charles Halford, Joe Bell), and bargain with weird poachers all in the name of acquiring a fresh-baked pastry for their infirmed matriarch. Through this trip, they’ll make an unlikely alliance with young fairy Petal (Lorelei Mote) and further solidify their unbreakable bond of friendship.

While Disney is spending time bringing their animated classics to live-action life with less than favorable results, Riddle of Fire comes to the screen in a casually traditional approach. Fully embracing its dreamlike details, Razooli’s choice to shoot the film with cinematographer Jake Mitchell on 16MM filmstock gives it an amateur aesthetic that ironically adds to its sophisticated charm. Unlike some films that play up the shoddy quality, Razooli leans into the warmth and texture 16MM can provide, adding a visual allure to the evolving narrative.

Donning multiple hats as a writer, director, and supporting actor (he’s a member of Anna-Freya’s family), his contributions are confident, and he guides the mix of experienced and amateur cast through a straightforward yet engaging narrative. The ensemble cast, led by Tipton (terrifically focused and unforced) and Halford, deliver performances that bind the material together when it begins to stray into the overly twee realm. However, Stover, Peters, and the standout Ferro truly impress, their raw and naturalistic approach adding another layer of realism in the middle of an otherwise oddball setting.

In fairness, Riddle of Fire will be an acquired taste for some, and it took me time to appreciate its imperfections fully. At nearly two hours, the film could benefit from significant editing because several tangents feel unnecessary to the central story being explored. While the film’s modern fairy tale filmmaking is commendable, its execution occasionally feels somewhat lacking when it diverges into an aside.  That’s when the amateurish quality glares out at us intensely, leaving us to yearn for a more profound exploration of the themes it has introduced and frequently drops for head-scratching off-road endeavors.

Reveling in the simplicity of its storytelling and eschewing grand spectacle in favor of a heartfelt celebration of the lasting power of friendship and imagination ultimately brings Riddle of Fire back home safely. Bound to resonate differently with each viewer, its earnestness is a winning attribute, and audiences seeking relief from the overly complex might enjoy this flight of fancy. Most notably, it introduces a strong, if at times peculiar, new voice in cinema, and I’ll keep an eye out for what Razooli chooses to explore next.