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It is important to note the title that this review is under – it is not simply Beowulf, or even Beowulf 3-D. The version of Robert Zemeckis’ latest film that I saw was in IMAX 3-D, and as such it is nearly impossible for me to even try and discuss any “ordinary” version of this epic tale. The 3-D effects, especially when digitally projected 60 feet high, are that integral to the finished product. And these same 3-D effects also help make this ultimately average storyline into something truly special.

Legendary yet drunken King Hrothgar (Anthony Hopkins) lives a life of revelry and debauchery, regularly feasting in his legendary mead hall with his Queen Wealtheow (Robin Wright Penn) and his many subjects. As singing echoes through the chambers it raises the ire of the fierce demon Grendel (Crispin Glover) living nearby, who storms the hall and slaughters countless innocents. Thus, Hrothgar and his lands are so cursed, until the heroic Beowulf (Ray Winstone) comes from the sea with 14 trusted warriors to slay the demonic beast. After a ferocious battle in the hall, Grendel is indeed defeated at the hands of Beowulf. But when Grendel’s demon mother (Angelina Jolie) learns of the fate of her son she comes to exact her revenge, felling almost all of Beowulf’s compatriots. Beowulf and his sole remaining sidekick Wiglaf (Brendan Gleeson) storm off after the woman, tracing her to her watery lair. There Beowulf intends to slaughter this murderer himself, but when presented with an enticing choice he finds himself unsure of just what to do. His decision brings him great power, but with it a powerful curse of his own.

The storyline of Roger Avary and Neil Gaiman’s adaptation of the centuries old epic poem is so linear and concise that it would be simple to outline the entire thing with just a few more added sentences. Though they made their fair share of changes to the oft-told tale (for those unfamiliar: the original poem is even more straightforward, with less of the curses and more of Beowulf being a badass) they nonetheless kept it simple. And though the script was not originally intended to be filmed as such, that is why this particular version of Beowulf was perfectly set up for implementation via director Robert Zemeckis’ newly beloved motion capture technology. The story is a spirited adventure to be sure, and the acting from the all-star cast is more than acceptable, but this is a movie that hinges on its visual appeal. Like this year’s hit 300, the look is stylized in an over the top way that makes it supremely eye-catching. But whereas 300 only drew in its backgrounds, Beowulf is basically an entirely animated piece of cinema (though motion capture was used to capture the movements and facial expressions of the thespians that provided the voices). And with the 3-D effects thrown in to boot, it is easy to see how the visual language of Beowulf literally makes this movie what it is.

The doll-like faces of the film’s characters border on expressionless, providing little in the way of human connection for the audience, but everything else on screen is so grand and striking that it is easy to dismiss this shortcoming (something that was not nearly as easy to overlook in Zemeckis’ maiden mo-cap effort, 2004’s Polar Express). The only other limitation to be found in the technology is that when things get moving fast and furious enough – as things often do in epic battles such as these – the 3-D can get a bit confusing and even painful to look at. But past that, this is some truly groundbreaking work; Zemeckis constantly challenges himself with interesting and innovative angles and shots that use the technology at his disposal to its fullest. An aerial shot of snow falling, for example, manages to use the 3-D as a strange short of reverse depth effect, as snow falls from sky to ground going farther back from our viewpoint. Aside from a few well-intentioned exceptions, these shots never come off as a Captain Eo kind of gimmicky that seeks to exploit the 3-D effect – instead they really just help immerse the audience into this particular world.

It’s hard to believe that Paramount managed to get a PG-13 rating for their Fall tentpole; the violence (and not to mention nudity) is focused on and flaunted enough to approach the levels of the aforementioned hard R-rated 300. No doubt the animated nature of the characters kept the MPAA from taking what we see too seriously, but nonetheless those who enjoy bodily dismemberment will have much to enjoy in Beowulf. Its grand themes get a bit muddied at times, and its success rests almost entirely on the shoulders of its gorgeous 3-D effects, but still Beowulf can be called nothing if not entertaining.

Grade: B+

- Jeff Latta