Dir: Robert Zemeckis

Starring: Ray Winstone, Sir Anthony Hopkins, Robin Wright Penn, Angelina Jolie, Krispin Glover, John Malkovich

It is perhaps ironic that the oldest written form of the English language is the basis for a film that incorporates the very latest of modern technology. Beowulf, the Old English epic poem, hits the screens this week after a ten year production process.

Set in a mysterious era veiled by the mists of time, replete with heroes and monsters, adventure and valour, gold and glory, one exceptional man, Beowulf, emerges to save an ancient Danish kingdom from annihilation by a disfigured creature.

As a reward for defeating the ungodly specimen and rescuing the devastated kingdom, he is given the crown and gains fame and fortune but, in the process, great riches and overwhelming temptations are thrown at him (most notably, in the form of Angelina Jolie, the dangerous siren).

How wisely he chooses to handle his newfound power will forever define his fate as a warrior, a champion, a leader, a husband and, most importantly, a man.

The use of performance capture in Beowulf is visually breathtaking. Up until now, it has seemed that the human form has been the hardest to digitally recreate realistically but, from the skin blemishes to the dirt under fingernails, it is so realistic it is easy to forget that you’re watching an animation.

It is a huge step forward for computer generated imagery. However, ethically, this raises questions on many levels. The technology is available now to create anyone or anything so, inevitably, there will come a time when somebody will make and market a new film with Marilyn Monroe, Cary Grant (or the like) as the star. The sky is very much the limit but it is also quite a frightening prospect.

The excellent animation is supported by a stellar cast. Ray Winstone’s cockney accent is an inspired, if bizarre, choice for an epic warrior and Sir Anthony Hopkins is perfect as the cursed Welsh king.

The story is good but quite thin in comparison to the modern-day epic blockbuster standpoint but it does deliver some potent messages. Linguists, however, may be slightly disappointed with the amount of Old English which was used very irregularly. Furthermore, although it contains the same characters and themes from the ode, much of the academic world will be left scratching their heads with some of the story (which won’t be found by re-reading the poem).

The plot is a sideshow to what is simply the greatest innovation in cinema since the turn of the millennium. It is less about the film, but more about the spectacle and, as spectacle’s go, you’re not going to find much better than Beowulf.

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