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If ever there was a film that prioritises visual spectacle over narrative, Beowulf is it. Plot, acting, characterisation, complexity - they all give way to an astounding sensory experience. Really the only way to watch Beowulf is in 3D, preferably on an IMAX screen, because the envelope-pushing visuals are the film's primary, and, in truth, solitary selling point (other than getting to see a flawless CG-rendered Angelina Jolie in the buff). The much-talked-about motion-capture (or mocap) technology that director Robert Zemeckis tested out in The Polar Express remains distracting, although at times the uncanny effect borders on disturbingly real - presumably a substantial proportion of the animators' time was spent on Jolie's relatively brief appearances, because her visage is possibly the most convincing. The other female characters, mainly Robin Wright Penn's Queen Wealthow, suffer from bland, too-perfect design and lack of expression.
Where the graphics come into their own is during the action scenes, in which Zemeckis is able to position the camera wherever he wants and move it around at will. Easily the best part of the film, barring perhaps the first few minutes when the 3D effect is still a fascinating novelty, is the sustained final action set-piece in which the hero, Beowulf (voiced by Ray Winstone but not looking much like him, in contrast to the other characters who are clearly modelled on their voice actors), fights a dragon. This is the only section of the film that truly gets the adrenaline pumping, making the most out of the third dimension. Some inspired scene transitions and extended camera moves also make great use of the technology, including an early establishing shot that takes the camera from inside the great hall where much of the film is set and tracks all the way back across the entire landscape.
It's hardly a revelation to find that a film that prioritises visuals so much has a script that is unlikely to gain many plaudits. Most of the film's narrative problems, however, surely stem from the source poem. The story is disappointingly slight, with almost all of the action taking place in or around one relatively confined area and no particular journey for the characters to undertake as in most fantasy adventures. Between action scenes the film lurches along with some drab and repetitive dialogue, hindered by the generally wooden computer-generated performances (The Lord of the Rings' Gollum was far better, although his subhuman appearance slightly lessened the challenge for his designers). Thankfully, at times the director does manage to establish some palpable suspense, particularly the first time that the hero enters the cave dwelling of his monstrous foe Grendel, and Alan Silvestri's orchestral score - featuring some of his best themes since at least Predator - adds a welcome sense of grandeur when the pace flags, which is sadly all too frequent.
The summary
As a sign of what may be the future of cinema, Beowulf is certainly worth seeing. It is a wonderful experience, but a wonderful film? Alas not. (The third star is for the 3D.)
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