Fantasy is a genre rich in imagination and innovation, which can stand alone or be attached to other genres when the need for such enhancements is desired. The early ’00s saw a multitude of fantasy films released, emboldened by Peter Jackson’s Lord of the Rings trilogy. Fantasy worked its way into every angle of storytelling, from contemporary stories like Big Fish to quirky historical fantasy pieces like Stardust, The Golden Compass, or any of the Chronicles of Narnia.
Then came the 2010’s, and fantasy films seemed to drop off in short order, giving way to the thinking-person’s science fiction, horror, and action genres. They were still made, but they were under more scrutiny, and they were more fiercely analyzed since the bar had been set very high with advanced technology and improved visuals. Here are 10 underrated fantasy films from the 2010’s you have to see if you’re looking to recapture some of that wonder.
HUGO
Somewhere in the walls of a Parisian train station in the ’30s lives Hugo, a boy who has no living parents and whose only guardian is an eccentric uncle. To provide for himself, Hugo keeps the station clocks clean and oiled, and in the meantime he keeps safe an intricate book of automation his late father (Jude Law) left him.
Hugo goes on many fantastical adventures with a new friend, the goddaughter of one of the station merchants (Ben Kingsley), all the while keeping out of the way of the station constable (Sacha Baron Cohen). A surprisingly heartwarming film from the ordinarily violent Martin Scorsese, the film is incredibly acted and has stunning visuals.
MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN
When a young boy finds himself abandoned by his guardian, he stumbles upon Miss Peregrine’s School For Peculiar Children, which may be exactly where he’s supposed to be. Its fiesty school marm, Miss Peregrine (Eva Green) takes pride in shepherding her wards of gifted charges, who have abilities Jack has only read about in stories.
As Jack befriends the residents, he discovers that they (and the school) have the ability to shift back and forth through space and time, which becomes increasingly handy as WWII breaks out and England is affected. This film is full of the usual Tim Burton quirks and visuals, but without a lot of the excessive self-indulgence of his Disney collaborations.
SEASON OF THE WITCH
Nicolas Cage decides to partake in his own Game of Thrones sort of adventure with Season of the Witch, a strange detour into medieval fantasy for the eccentric actor. He plays a templar knight named Behman who has since given up his faith along with the Crusades.
He’s made to do one last task by a dying cardinal upon his return to Europe – take a young witch to an abbey where monks will work to destroy her for supposedly causing the Black Plague. Through a ravaged land full of pestilence and strange creatures, he and his comrade Felson (Ron Perlman) escort their prisoner, who isn’t what she appears to be (much like their mission). The visuals in this are fun, but you’ll really appreciate the amusing dialogue between Cage and Perlman.
IMMORTALS
Before he was the Man of Steel, before he punched Tom Cruise in MI6, and before he became Geralt of Rivia in The Witcher, Henry Cavill played the mighty Theseus in Immortals. The film is an ode to such fantasy epics as Clash of the Titans, but has a more enjoyable cast and doesn’t take itself as seriously.
King Hyperion (Mickey Rourke) wants to find the mythical Bow of Epirus and control all of Greece with his armies. With such a weapon he would be stronger than the gods of Mount Olympus. A humble stonemason (Cavill) receives an oracular message that he is to take on the power-hungry king, and a momentous war begins. Watch it for the innovative use of the Olympian gods, whose political machinations make or break the fates of men.
SUCKER PUNCH
A visually kaleidoscopic feast, Sucker Punch was dismissed as voyeuristic and superficial when it was released in 2011, but has since achieved something of a cult following for its assault on the senses. When a young girl referred to as Babydoll is put into an asylum, she finds solace in a fantasy world of her own making.
At the same time her mind offers her freedom, she decides to fight for the real kind, and enlists a battle group of four other women to help her. Together the uniquely clothed women with uniquely powerful weapons and abilities fight everything from ninjas to mutants, all the while fighting for their right to be called “sane”. Watch it for the world-building and the Bjork soundtrack.
A MONSTER CALLS
When a young boy’s mother (Felicity Jones) grows ill, he finds little in the way of comfort from his recalcitrant grandmother or the other children at school. He has no hope of seeing his father, who has moved thousands of miles from him, and so finds himself alone and adrift.
One night, the Monster (Liam Neeson) comes to his bedroom window. The Monster is a wild creature of awesome power and unknown origins, who promises to be the boy’s guide and help him on his journey. This film is a delightful amalgamation of fantasy and reality that explores mental health in a surprisingly refreshing way.
MORTAL ENGINES
From the creative genius of Peter Jackson who dazzled the world with his Lord of the Rings trilogy comes Mortal Engines, another large-scaled fantasy epic that may have been too ambitious for its own good. Based on a series of YA novels, it reveals what the world is like in an uneasy dystopian future where survival cannot be guaranteed and resources are slim.
Cities exist atop giant moving mechanical contraptions, with larger cities devouring smaller ones and absorbing their inhabitants and their goods. A young heroine is determined to stop London (the world’s largest city) from destroying everything around it, but her quest will lead her to some unsettling truths about its origins. It features stupendous visuals and good character actors, and should be forgiven for its bloated length (which Jackson cannot often help).
THE HOUSE WITH A CLOCK IN ITS WALLS
While it didn’t enjoy the fame of Lemony Snicket or Nanny McPhee, this charming fantasy tale deserves just as much credit for combining magic, whimsy, and a little bit of strange in the best possible ways. When a young orphan boy goes to live with his uncle, he learns not only how to become a magician, but the legend of the clock that lives in the walls of his uncle’s enchanted abode.
Featuring some truly fine performances by Jack Black and Cate Blanchett in their respective roles as guardians for the young magician’s apprentice, The House With A Clock In Its Walls is perfect fun for the whole family and those that like a little spookiness with their spells. Throw it on during Halloween season along with Hocus Pocus.
MALEFICENT
Fantasy fans were eager to anticipate Maleficent: Mistress of Evil which came out this year, but five years prior audiences were skeptical about Disney’s foray into live-action with Maleficent. Not only was it a retelling of the Sleeping Beauty fairytale, it featured changes that would detour drastically from the well-known story.
Featuring Angelina Jolie in a career-defining role as the dark fairy who fails to be invited to the christening of Princess Aurora, the quintessential Disney villain is brought to majestic life in a way that still feels fresh and bold amidst the deluge of Disney live-action movies that came after it. It reminded Disney that fans appreciate innovation and creativity over generic money-grabbing.
JUPITER ASCENDING
The most fantasy-infused sci-fi film to enter the genre in recent years, there was (and remains) a heavy backlash against Jupiter Ascending if for no other reason than it exists. It’s guilty of blending no doubt too many elements and genres from worthier predecessors, but it takes a chance on bold stortytelling nevertheless.
The Wachowskis are some of the only film makers still making material that focuses on world-building of the magnitude in this film. Even if you hate an effeminate villain derived from a family of bee-people, and detest Channing Tatum’s space-rollerblading werewolf, appreciate that all of these elements exist in one film.
