Millie’s Performance as Elodie in 2024 “Damsel” is Rather Annoying and Grating

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Director: Juan Carlos Fresnadillo
Rating: 4/10

Directed by Juan Carlos Fresnadillo, "Damsel," the 2024 fantasy adventure, is a movie that's difficult to pin down, both in terms of genre and quality. It's one of those films that, despite its ambitions and a sizable budget, seems to fail in execution, leaving audiences scratching their heads as to what exactly they've watched. Audiences are invited on a captivating journey filled with a talking dragon, regal families, and the sonic enchantment of Hans Zimmer. Yet, it leaves audiences to be in distress and unamazed rather than in awe and astonishment.

First of all, let's address the dragon in the room—literally. Yes, "Damsel" includes a dragon that speaks. Now, in the world of fantasy, dragons that talk aren't necessarily a deal-breaker. However, in this film, the decision feels as if the creators threw darts at a board of fantasy tropes while blindfolded. The dragon's dialogue does become more coherent as the plot progresses, but its initial introduction is jarring and unfortunately funny, leaving viewers to wonder if the film is intentionally leaning into absurdity or if it's a misstep. Moreover, the CGI used to bring this dragon to life is, sadly, not up to par. The CGI rendering in "Damsel" still grapples with occasional disparities, as certain scenes suffer from a noticeable lack of visual refinement. Despite the technological advancement right now, the portrayal of a talking dragon reminiscent of early video game graphics, remains an uninteresting choice. The creature's design is less 'majestic' and more of like a 'lackluster Komodo dragon'. It's unfortunate because the dragon is pivotal to the story, yet it lacks the visual appeal one expects from such a mythical creature.

Millie's performance as Elodie is annoying and grating. While she brings her face card to the role, her tendency to default to shouting is a choice that quickly wears thin. The overreliance on shouting to convey urgency or distress becomes annoying over time. That's not to say she doesn't have her moments, however, her portrayal could have been more effective. The movie feels heavy-handed and unnecessarily verbose. The dialogue succumbs to overexplaining the situation, undercutting the film's visual storytelling and downplaying the audience. Instead of allowing the audience to engage with the film's world, the dialogue spoon-feeds information, stripping away any sense of discovery or wonder. This tendency to over-explain is perhaps most obnoxious when Elodie spells out her observations, literally. In a particularly on-the-nose moment, she points out "crystals" and a "bird" to an extent that feels unnecessary. Even her uttering the letter "V" as she sees the name "Victoria" written on the stone is very unnecessary. It's as if the film doesn't trust its audience to understand the plot or the setting without a constant explanation. This choice not only disturbs the overall pacing but also negates the potential impact of the visuals and the performances.

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The film's narrative is a patchwork of concepts that appear intriguing on paper but are poorly woven together on screen."Damsel" seems to struggle to find its identity, unable to find a consistent tone. Is it a children's movie? A dark fantasy for adults? It tries to be both and ends up serving neither well on both demographics. The darker elements feel out of place in a movie that also includes scenes clearly meant to be whimsical and lighthearted. This tonal disconnection results in a confusing experience. The strategy to be ambiguous, at times, results in a narrative that lacks a defined direction. The dialogue's shortcomings are a significant factor contributing to the film's crisis. It's a script that can't seem to decide whether it's aiming for the simplicity required for a young audience or the sophistication that might appeal to adults. The result is a mishmash that's unlikely to fully satisfy both audiences.

The musical score, crafted by the renowned Hans Zimmer, introduces a symphony that struggles to integrate with the film's overall ambiance and atmosphere. The composition occasionally borders on obtrusive, disrupting viewer immersion rather than enhancing it. It's a rare misstep for Zimmer, and one can't help but wonder what drew him to this project. Overall, the movie's threads come loose in nearly every aspect. The CGI fails to dazzle, the dragon's dialogue and design are distasteful, Millie's performance is marred by an over-reliance on shouting, and the narrative is a jumble of confusing elements. Even Hans Zimmer's score, which one would expect to be a redeeming feature, ends up feeling out of place.

Lastly, the ending of "Damsel" is as predictable as it is cliché. Without spoiling too much, the film's conclusion leans heavily into the 'Mighty One' trope, even cheekily nodding to the "Game of Thrones" series by making the main character "the mother of a dragon" or in this case, "sister of a dragon." It's an ending that could have used a twist or a more original resolution. Instead, it opts for a safe, familiar wrap-up that leaves no lasting impression. In conclusion, "Damsel" is an odd film that never quite finds its footing. It's a mishmash of ideas that could have been something special had they been executed with more care and cohesion. In the end, the movie is an uneven ride, occasionally entertaining but mostly perplexing. It's a fantasy film that's unfortunately more forgettable than fantastic.