Fantasy might very well be the oldest genre of storytelling. It is used to describe stories that take place in fantastical worlds where monsters, magic, and legendary heroes are present. From there, it can be further broken down into various sub-genres, like the more heroic high fantasy or the grittier dark fantasy. The genre is limited only by the imagination of the storyteller, and oftentimes, fantasy stories are used to teach morals and lessons by representing human fears and anxieties as horrific beasts to be overcome and cast down.
Fantasy movies are pretty much as old as cinema and have expanded quite a bit over the years as new technologies were invented. Naturally, a lot of fantasy movies get overlooked or forgotten about, but if one looks hard enough, there are plenty of hidden gems that represent the genre at its best and most compelling.
‘Ladyhawke’ (1985)
Phillipe Gaston (Matthew Broderick) is a thief known as “The Mouse,” who escapes prison just before his execution on the order of the Bishop of Aquila (John Wood). He is aided by the Bishop’s former guard captain, Etienne of Navarre (Rutger Hauer), and his hawk companion. Etienne coerces Phillipe into helping him take down the Bishop, but during their travels, Phillipe notices that Etienne seems to vanish at night, where he runs into a mysterious woman (Michelle Pfeiffer) accompanied by a black wolf.
Ladyhawke was a box-office bomb on release, but it holds up pretty well today as a fairy tale love story. The romance works thanks to the charisma and believable chemistry between Hauer and Pfeiffer, as well as the mystery surrounding their characters. Phillipe is perhaps the weakest part of the film, since he is more of an observer to the lovers than a proper protagonist, but Broderick still gives a fun performance, especially whenever Phillipe asks God for help.
‘Fire and Ice’ (1983)
The sorcerer rulers of Icepeak, Queen Juliana (Susan Tyrrell) and her son, Nekron (Stephen Mendel), use their power to extend glacial ice southward as the vanguard of their invasion force, driving humans closer to the equator. Soon, only the volcanic citadel of Firekeep stands against them, so Juliana has its princess, Teegra (Maggie Roswell), kidnapped to be Nekron’s bride. Teegra escapes her captors into the wilderness, and finds allies in Larn (William Ostrander), a warrior whose village was destroyed by Nekron, and Darkwolf (Steve Sandor), a mysterious wanderer who is committed to killing the sorcerer king.
Fire and Ice is a beautiful example of 1980s dark fantasy from the mind of Ralph Bakshi. It is structured much like a pulp fiction story, with fast-paced action and a grim world that makes great use of the clash between fire and ice in its backgrounds and landscapes. It also makes great use of rotoscoping to give the characters more lifelike movements, which makes the action sequences feel all the more brutal.
‘The Golden Voyage of Sinbad’ (1973)
After acquiring a golden amulet from a mysterious flying creature, Sinbad the Sailor (John Phillip Law) arrives in Marabia, ruled by its disfigured Grand Vizier (Douglas Wilmer) since the Sultan died without a king. The Vizier tells Sinbad that the amulet is part of a set that can lead the way to the mythical Fountain of Destiny, and Sinbad agrees to come along on an expedition to find it. However, the group is pursued by Koura (Tom Baker), an evil sorcerer who wishes to use the fountain’s power to claim rulership of Marabia.
The Golden Voyage of Sinbad is the second of three Sinbad films made with stop-motion creatures by the legendary Ray Harryhausen. From an animated statue of Shiva that duels our hero to a ferocious centaur that guards the fountain, the creatures stand out thanks to their unique designs and how seamlessly they are blended into the film, at times looking like they are physically interacting with the actors. The story is not quite as well put together as the earlier The 7th Voyage of Sinbad, but it’s still a solid fantasy adventure film, and Baker gives an unforgettable performance as the villain.
‘Legend’ (1985)
With the help of her forest-dwelling companion, Jack O’ the Green (Tom Cruise), Princess Lili (Mia Sara) meets the last two unicorns in the world. Unfortunately, she was followed by the goblin Blix (Alice Playten), who, on the orders of her master, Darkness (Tim Curry), kills the stallion and steals its horn. The crime plunges the world into a dark winter, and Jack and Lili must protect the mare and get the horn back, lest the world never know sunlight again.
Legend tells a simple fairy tale story about good vs evil, but it does it really well. The success is thanks in large part to impressive sets and use of practical effects, which completely transform the actors into mystical creatures, such as Curry’s iconic devilish appearance as Darkness, or Robert Picardo as the foul swamp-hag Meg Mucklebones. If you’re going to watch the movie, try to find the director’s cut, which has additional footage that makes the story and character arcs feel more complete, and music by Jerry Goldsmith.
‘The Adventures of Baron Munchausen’ (1988)
As the Ottoman Empire besieges an unnamed European city in the Age of Enlightenment, Baron Munchausen (John Neville) interrupts a play based on his life’s adventures and criticizes its inaccuracies. He claims that the reason for the attack is due to a bet he made with the Grand Turk, Sultan Mahmud I (Peter Jeffrey), but also claims that he can save the city if he finds his old associates, each of whom possesses superhuman gifts. He is joined on his search by Sally Salt (Sarah Polley), the daughter of the theater troupe leader, but the journey is full of all sorts of perils, while the Angel of Death is always following after the Baron.
The Adventures of Baron Munchausen was the final film in Terry Gilliam‘s “Trilogy of Imagination,” with themes focusing on aging and maintaining one’s relevance as the world seems to progress around them. There is a strong contrast with the film’s extravagant sets and costumes: while the heroes travel through the fantastical world, they can never escape the hard truths of reality and must make peace with them if they hope to move forward. It’s also got a surprise cameo from Robin Williams, who has a non-credited role as the King of the Moon, and it’s as hilarious as any of his best performances.
‘The Last Unicorn’ (1982)
A unicorn (Mia Farrow) overhears two hunters talking about her kind and wonders if she might be the last unicorn in the world. A passing butterfly (Robert Klein) tells her that the unicorns were herded north long ago into the kingdom of King Haggard (Sir Christopher Lee) by a demonic Red Bull. Thus, the unicorn sets out to learn the truth for herself, and receives help from a bumbling magician named Schmendrick (Alan Arkin) and Molly Grue (Tammy Grimes).
The Last Unicorn is unique among fantasy movies thanks to its melancholic tone. The story touches on mature themes like regret, loss, the power of memory, and identity, all told via the interactions with an immortal unicorn who does not know these emotions and humans who do. It also boasts a beautiful art style that looks like a tapestry come to life, haunting songs by America, and a fun fantasy world that leans so heavily into the genre that the familiar tropes are literally part of the world.
‘A Monster Calls’ (2016)
Conor O’Malley (Lewis MacDougall) is a young boy living with his terminally ill mother (Felicity Jones), who is upset both with her worsening condition and the possibility of having to live with his strict grandmother (Sigourney Weaver). One night, he spots a yew tree growing near a church transforming into a monster (Liam Neeson) before seeking him out. The monster tells Conor that it will visit him again and tell him three stories; afterward, Conor must tell the monster a fourth story based on his recurring nightmares.
A Monster Calls is based on the book of the same name by Patrick Ness, who also wrote the screenplay. It’s a brutal and raw film that explores themes of grief, loss, and the complexities of the human experience, told both through Conor’s struggles at home and school and the monster’s stories. Everyone gives their all in this hidden gem masterpiece, but MacDougall in particular stands out thanks to how perfectly he captures Conor’s turbulent state, from cold detachment to raw, unfiltered rage and sadness.
‘Dragonslayer’ (1981)
Galen Bradwarden (Peter MacNicol) is the young apprentice to the last great sorcerer, Ulrich of Cragganmore (Sir Ralph Richardson). One day, his master is approached by an expedition from the kingdom of Urland asking for his help in killing the ancient dragon Vermithrax Pejorative, who has terrorized the kingdom and devoured many young maidens. Ulrich dies when trying to demonstrate his magic powers, but his magic amulet chooses Galen as its new master, so Galen offers his services against the dragon.
It’s amazing to think that Dragonslayer was coproduced by Disney, because a gritty dark fantasy movie is so far removed from the Mouse House’s carefully constructed brand image. The world is gritty, harsh, and unforgiving, with most of its characters falling into different shades of gray morality, doing horrible things in the short term to guarantee long-term stability. The star of the show is Vermithrax itself, brought to life through a diverse array of special effects including stop-motion puppets and massive animatronics, resulting in perhaps cinema’s best dragon.
‘The Adventures of Prince Achmed’ (1926)
Desiring the local Caliph’s daughter, a sorcerer offers a magical flying horse in exchange for her hand in marriage. The Caliph’s son, Prince Achmed, objects to the offer, so the sorcerer lets him test the horse. Unfortunately, he doesn’t tell Achmed how to control the horse, so it whisks the prince away to a far-off land, forcing him to find a way back home.
The Adventures of Prince Achmed has the honor of being the world’s oldest surviving animated film, and is a truly one-of-a-kind experience. Every frame was made through meticulously placing pieces of cardboard against bright backgrounds to create a style reminiscent of shadow puppetry, while still perfectly displaying whatever emotions the characters are experiencing. Though few people today have seen The Adventures of Prince Achmed, its influence can be felt throughout modern adaptations of the One Thousand and One Nights, and the shadow puppet style inspired the Tale of the Three Brothers in Harry Potter and the Deathly Hallows — Part 1.
‘The Secret of Kells’ (2009)
As Viking raiders swarm across Ireland, Cellach (Brendan Gleeson), abbot of Kells, oversees the construction of a great wall, and instructs his young nephew, Brendan (Evan McGuire and Michael McGrath), to stay close to the abbey. One day, the abbey is visited by Brother Aidan (Mick Lally), a master illuminator who is working on the Book of Iona. He recruits Brendan to help him with the illustrations, but as Brendan goes into the woods to find dyes, he meets a fairy named Aisling (Christen Mooney).
The first in a trio of Irish mythology films from Cartoon Saloon, The Secret of Kells is best described with one word: magical. Its art style is enough to hook you in, with stylistic character designs and bright colors that make it feel as if it’s a medieval painting come to life. The story is equally magical, both through the inclusion of the fairy world via Aisling’s friendship with Brendan, and with universal themes of hope, the power of artistic expression, and the dangers of pride.