Sir
Kenneth Branagh is becoming increasingly versatile and mainstream with each
film he directs. Somewhat unexpectedly, he directed the first Thor film
in the Marvel Cinematic Universe in 2011 (until you realize, Norse mythology of
course, can be treated as sharing deep Shakespearian links). He then adapted
arguably Christie’s most famous Poirot novel, in his opulently mounted,
star-studded version of 2017’s Murder On The Orient Express – playing
the exuberantly moustached detective himself.
Now,
comes the much delayed, big-screen version of Eoin Colfer’s bestselling
young-adult novels. ‘Big-screen’ remains mere wish-fulfilment though -
sprinkled in hope by the fairies that populate the narrative’s magical worlds.
Branagh’s multi-million-dollar, long gestating project has very sadly been
somewhat downgraded to only ever existing through those much-maligned streaming
platforms – or, to exercise specificity – the new platform on the evermore
competitive block – Disney Plus.
It is
such a pity, because its exactly the sort of ambitious, fantastical,
blockbusting fare that belongs squarely in the multiplex, instead of within the
confines of four corners of ever-decreasing screen-sizes.
Young Artemis Fowl, is introduced to an
entire underground populace of fairies, goblins and giants etc, after his
father (another soulfully earnest turn from Colin Farrell) is captured by a
faceless, raspy-voiced culprit. Naturally, our titular protagonist is forced to
personify the figure of unlikely hero.
It’s hugely enjoyable, very much in that
glossily sheened mould of Robert Rodriguez’s Spy Kids, Anthony
Horowitz’s Stormbreaker, a child-palatable version of Matthew Vaughn’s
decidedly more adult Kingsman franchise, and a touch of a certain Harry
Potter.
It’s in the supporting roles that the casting
choices really shine. Dame Judi Dench’s Commander Root, head elf of Magical Law
Enforcement strides onto screen in lime suit and goggled visor with a growly: ‘Top
o’ the Mornin’ Cornish accent. It seeks to act as further proof, not that
any were needed, that Dench is still finding completely refreshing roles, well
into her eighth decade.
Josh
Gad, similarly, takes on somewhat of a departure, as Mulch Diggums (a fantasy
name for a character, if ever there was one), a giant whose motivations are
somewhat ambiguous.
Jake
Davies, terrific as the corrupted son and brother in the second series of BBC
One’s The Missing, is one of our very best young actors, and here has a
small role as one of those lime-suited elves under Dench’s command.
Jim Clay’s sumptuous production design, and
Sammy Sheldon’s costumes, ensure great detail and intricacy is given to every
set and character; from Fowl Manor’s gold-encrusted chandeliers, to an entire
underwater colony of creatures and security divisions.
Of course, a cliff-hanger ending sets up an
inevitable franchise. There are eight novels in total, so there’s plenty of scope
for further instalments.
The comparatively short running time of 95 minutes jams a
lot in, but it’s vibrant, sincere, colourful fun - and a refreshing change for
Branagh. I just hope any sequels are released cinematically – which is exactly
where they should be.
Rating: * * *
