First, don’t tell me anything about Stranger Things because I’m so far behind that the show might as well be called Strange Things.  I’m a huge fan of Season 1; something got in my way of watching Season 2, and the episodes have been piling up from there. With the final season filming now, I know I need to do a major binge, and it will happen…but until then, I don’t give you spoilers, so please don’t give me any. I have, however, been keeping up with what the cast of the monster hit Netflix show has been doing away from The Upside Down, and the biggest success story has to be Millie Bobby Brown.

Brown was still relatively unknown when she was cast by The Duffer Brothers in Stranger Things in 2016, and she quickly became a popular character and even more popular actress. Born in the UK, she’s been nominated twice for an Emmy for her work and parlayed that good fortune into roles in 2019’s Godzilla: King of the Monsters and its 2021 sequel Godzilla vs. Kong. What’s most notable is her putting on a producer cap, handling executive decisions, and starring in the wildly popular Netflix films Enola Holmes from 2020 and the sequel two years later.  While the Godzilla films were studio products Brown was shoehorned into, the Enola Holmes movies were bright and snappy, an intelligent fit for the actress.

In the same way her Netflix series pays homage to the ’80s movies, TV shows, and books that impacted the creators growing up, Brown’s new film Damsel owes much of its inspiration to classic fairy tales and contemporary fantasy fiction. Yet, at the same time, it possesses very much its own unique blend of magic; timeless themes of good vs. evil, treachery being squashed by loyalty, and family bonds tested by community betterment are just a few lofty ideas explored in this spellbinding adventure.

Directed by Juan Carlos Fresnadillo (28 Weeks Later), this Netflix gem (which I have every belief will be a gigantic hit amongst Brown’s Stranger Things fans and non-devotees looking for a smashing swords and sorcery tale) was written by Dan Mazeau (Fast X, Wrath of the Titans) and has all the trimmings of a film that’s been adapted from a much-loved YA novel.  Damsel is a rare original work that gives it a freshness and freedom to explore different storytelling angles from the start. Subtly playing with ancient myths of territorial dragons haunting faraway lands, the movie opens with a king making the mistake of entering a dragon’s lair without a solid plan to defeat her.

Jumping ahead several hundred years, we meet Elodie (Brown), a noblewoman living in a land of diminishing resources with her admiring younger sister (Brooke Carter), a father (Ray Winstone, Cats) struggling to rule, and a stepmother (Angela Bassett, Gunpowder Milkshake) attempting to balance her duties to her husband while working to get her new daughters to warm to her. Salvation comes in the form of a letter delivered from a kingdom far, far away.  The prince needs a bride, and Elodie’s presence is requested for the match. If they marry, the prince’s kingdom will ensure that Elodie’s people survive. Left little choice, Elodie and her family set off into the unknown.

Arriving on the picturesque island ruled by Queen Isabella (Robin Wright, Land), Elodie meets Prince Henry (Nick Robinson, Love, Simon), and the deal is, as they say, sealed once they lock eyes. Ah, but Elodie has been welcomed to this land under false pretenses, for the Queen intends to sacrifice her as part of a ritual that began long ago. This dark secret harbored by Henry and his family will entrap her in the foreboding caverns that dwarf the storybook kingdom and involves Elodie coming face to face with a dragon seeking eternal revenge. Using her cunning wit and will to survive, Elodie navigates the dangers of the cave system while avoiding a beast that knows far better the nooks she tries to hide in.

Not only grand in storytelling but in scale, Damsel surprised me with its visual spectacle. While it has a few shaky scenes of vistas that begin to resemble a Tex Avery cartoon landscape, the dragon effects are spectacular.  Voiced to perfection by Shohreh Aghdashloo (Run Sweetheart Run), the match of voice to scary scale is exquisite, and it’s what gives the film its grounding in a kind of reality these fantasies often sorely lack. Aghdashloo’s vocal performance is top-notch, creating an unforgettable antagonist that is a formidable match to Brown’s tenacious maiden.

Outside of the cave, however, things are a bit more standard. As strong as Brown is when she’s going head-to-hide with the fire-breathing monster, there’s a growing discomfort when she attempts to assert herself as older than she is. It’s when Brown’s appealing naturalism falls away, and a young actress emerges when you can see the work happening, and you’re reminded that with experience, she’ll be so much better. Being surrounded by Wright (who gets to wear Amanda Monk’s gorgeous costumes and chew some scenery as a wicked anti-Buttercup) and Bassett (taking a rare demure role that isn’t playing up her harsh edge) helps. There’s a specific celebration of femininity throughout, from the villains (or supposed villains) to the saviors, working toward a crescendo of empowerment by the time the credits roll.

It wasn’t until after the film that I connected Fresnadillo and his previous work. In addition to 28 Days Later, he gave us 2001’s tricky Intacto, another film possessing a visual language all its own. Working with cinematography Larry Fong (The Tomorrow War) and production designer Patrick Tatopoulos (Maleficent: Mistress of Evil) to paint on a vivid cinematic canvas, the technical craft of Damsel captures both the ethereal beauty and the foreboding darkness of the fantastical realm.  Whether following Elodie and Henry riding on horseback or steering clear of the flames of the dragon’s breath, there’s always an intriguing detail given meticulous thought to see on screen. 

With a message promoting everyone, not just women, as architects of their destiny, Damsel pulls ahead of the pack to be a standout in the genre. It can get pretty dark, with bloodletting that pushes the boundaries of the PG-13 rating, but the breathtaking visuals and breakneck pace give it considerable power in the rewatch department. For all the daydreamers starving for the excitement of originality in the fantasy genre, Damsel is here to save you from your distress.