Entertainment
10 Fantasy Movies That Are Near Masterpieces
When done right, fantasy is one of the most entertaining genres, but it can be very tricky to pull off. While the genre boasts several undisputed masterpieces, many other fantasy films put in a valiant effort but ultimately fall short of realizing their full potential.
These movies are the focus of this list: they are almost perfect, yet limited by one or two flaws. Some boast breathtaking visuals but uneven storytelling, while others feature compelling concepts that could have been explored a little more fully. A few were simply in need of a bit more script polishing. From sword-and-sorcery epics to gothic fairy tales, the following ten movies represent fantasy at its most tantalizingly imperfect.
‘Dragonslayer’ (1981)
“None shall pass without tribute.” Set in a bleak medieval kingdom terrorized by a monstrous dragon, Dragonslayer follows young sorcerer’s apprentice Galen (Peter MacNicol), who must confront the beast Vermithrax Perjorative after his mentor is killed. The setup is classical fantasy stuff: craven villagers, corrupt officials, an untested hero, and a cruel monster looming over everything.
Vermithrax truly is formidable; he looks fantastic, thanks to inventive, practical effects. The creature’s movements, scale, and fiery presence create a sense of genuine danger that even many modern fantasy movies struggle to achieve. Indeed, the whole movie has a gritty, grounded tone that sets it apart from most ’80s flicks. Instead of a fairy tale, it gives us a bleak, mud-covered world where magic is fading, and survival often comes at a terrible cost. That said, some of the plot developments aren’t that original, and the pacing can feel uneven. Some of the supporting characters are also underdeveloped, which makes the emotional stakes less powerful than they could have been.
‘The Spiderwick Chronicles’ (2008)
“We have to stick together.” This movie brought Tony DiTerlizzi and Holly Black‘s wonderful Spiderwick books to the screen, though some of the magic is lost in translation. The story revolves around twins Jared and Simon (both played by Freddie Highmore) and their older sister Mallory (Sarah Bolger), who move into their great-aunt’s crumbling estate. There, they discover a hidden field guide revealing a secret world of faeries, goblins, and other magical creatures. Soon, they’re on a mission to protect the book from the malevolent ogre Mulgarath (Nick Nolte).
The creature design and visual effects are solid, and the storytelling is fittingly fast-paced and accessible for the young target audience. The movie retains a subtle dark edge, too, which is commendable, and Highmore’s performance does a lot of heavy lifting. However, the simplicity of the narrative ultimately limits its impact. The story is enjoyable but relatively straightforward, lacking the deeper mythological world-building that would have made it stand out.
‘The City of Lost Children’ (1995)
“I dream of dreams.” The City of Lost Children is a steampunk gem from quirky French directors Marc Caro and Jean-Pierre Jeunet (the latter also made Amélie). In a surreal port city perpetually cloaked in mist, a scientist known as Krank (Daniel Emilfort) kidnaps children to steal their dreams, hoping to stave off his rapid aging. A strongman named One (Ron Perlman) teams up with a clever orphan girl, Miette (Judith Vittet), to rescue his kidnapped brother, leading them through a labyrinth of bizarre characters and nightmarish inventions.
From here, the movie creatively mashes together elements of fantasy, sci-fi, and dark folklore, practically every frame showing off the directing duo’s vibrant imaginations. However, that visual brilliance sometimes overshadows its storytelling. While the atmosphere and world-building are unforgettable, the plot itself can feel somewhat thin and episodic, even confusing. In short, a lot here could have been fleshed out more.
‘Orlando’ (1992)
“Same person. No difference at all… just a different sex.” Another wondrously imaginative movie. Based on Virginia Woolf’s novel, Orlando stars Tilda Swinton as an androgynous noble who lives for centuries, mysteriously changing from male to female along the way. We follow the character through shifting historical eras, each period rendered with exquisite attention to detail. Swinton’s performance is simply mesmerizing the whole way through, holding the whole movie together.
Director Sally Potter uses this unique premise as a way to explore themes of identity, gender, and social expectations, particularly the way they change over time. Once again, however, Orlando is a case of a movie being visually sumptuous but occasionally light on story and themes. The tone is a little detached, as well, meaning that the emotions don’t always come through fully. All in all, Orlando feels like a series of poetic observations rather than a coherent narrative.
‘The Adventures of Baron Munchausen’ (1988)
“I am Baron Munchausen!” In this exuberant adventure story from Terry Gilliam, the legendary storyteller Baron Munchausen (John Neville) recounts (and seemingly relives) fantastical chapters from his life, involving trips to the moon, encounters with mythological beings, and daring escapes. A young girl (Sarah Polley) becomes his companion as reality and imagination blur. Along the way, the movie becomes a celebration of storytelling itself, firmly believing in the power of fiction to inspire wonder and even reshape reality itself.
There is a lot to love here: elaborate sets, endless spectacle, an abundance of surreal imagery, and charming performances from Neville and Polley, as well as Eric Idle, Jonathan Pryce, and Uma Thurman. It also maintains a cheerful and whimsical vibe the whole way through, one that can’t help but be infectious. But there are some weaknesses, too. The story is slow to get started, and the sprawling web of subplots and characters can be a little overwhelming.
‘Ladyhawke’ (1985)
“Always together, eternally apart.” Ladyhawke is a nice blend of sword-and-sorcery and romance, helmed by The Goonies‘ Richard Donner. Set in a mythic medieval France, Ladyhawke tells the story of Navarre (Rutger Hauer), a disgraced knight, and Isabeau (Michelle Pfeiffer), the woman he loves, who are cursed by a jealous bishop: by day she becomes a hawk, and by night he transforms into a wolf, preventing them from ever being human together. A witty thief named Philippe (Matthew Broderick) becomes entangled in their quest to break the spell.
While a lot works here, the main issue with Ladyhawke is the tone, which sometimes shifts uncomfortably between romance, dark drama, feel-good adventure, and comedy. Some of the dialogue is bland and wooden, too, and even some of the funny lines feel out of place. These shortcomings are not helped by the modern synthesizer score, a bafflingly anachronistic choice that does not help with the immersion.
‘Hellboy II: The Golden Army’ (2008)
“I am fireproof.” The Hellboy movies are perhaps Guillermo del Toro’s most straightforwardly crowd-pleasing projects, leaning into genre thrills rather than deep themes or emotion. However, that’s also exactly what makes them work: they’re fun and bold, anchored by more layered and likable characters than one typically finds in comic book adaptations. The sequel finds the title character (Ron Perlman) caught between the human world and a hidden realm of mythical creatures as Prince Nuada (Luke Goss) seeks to awaken the unstoppable Golden Army to reclaim the Earth.
Perlman is at his most charismatic here, nailing his dry one-liners and action sequences while also infusing the character with a subtle melancholy. Other characters are less well-handled, unfortunately. The antagonist, in particular, is a little underwhelming. Similarly, the narrative itself sometimes drifts into muddled or conventional comic-book territory. Certain sections run out of momentum and lack that signature del Toro spark.
‘Conan the Barbarian’ (1982)
“What is best in life?” Ranking among the most iconic fantasy movies of the ’80s, Conan the Barbarian features a breakout Arnold Schwarzenegger as a warrior whose parents are slaughtered by a cult leader, Thulsa Doom (James Earl Jones). Raised as a slave, Conan grows into a formidable fighter and embarks on a quest for vengeance, confronting sorcerers, bandits, and giant snakes along the way. This story laid a blueprint that countless sword-and-sorcery movies would attempt to replicate, though usually not with this much muscular energy.
Fundamentally, Conan the Barbarian is cartoonish but enjoyable, with many strengths alongside some glaring weaknesses. The acting is often a little flat, the aesthetic is rough around the edges, and the movie’s attempts at depth (even shoe-horning in some points on philosophy) can be heavy-handed. Some fans of the original books also disliked the film’s deviations from the source material. Nevertheless, the flick’s impact is undeniable.
‘Harry Potter and the Half-Blood Prince’ (2009)
“Once again, I must ask too much of you, Harry.” Harry Potter and the Half-Blood Prince is perhaps the most character-driven entry in the series, for better and for worse. As Voldemort’s (Ralph Fiennes) power grows, Harry (Daniel Radcliffe) returns to Hogwarts for what becomes one of the saga’s most introspective chapters. Guided by Dumbledore (Michael Gambon), he explores memories revealing the Dark Lord’s past. Meanwhile, Draco Malfoy (Tom Felton) faces a dangerous mission that tests his conscience.
The film is more moody and emotional, reflecting the characters’ increasing maturity. Unfortunately, many of these psychological character arcs are given insufficient space, in part due to the time constraints of a feature film but also frequently because the director chooses to prioritize humor or romantic storylines. Not to mention, the flashbacks exploring Voldemort’s early days are hugely truncated, undercutting a lot of the emotional power of the book.
‘Excalibur’ (1981)
“I am Arthur, King of the Britons.” John Boorman’s sweeping retelling of the Arthurian legend traces the rise and fall of King Arthur (Nigel Terry), from the drawing of the sword to the tragic collapse of Camelot. The thrills on offer are traditional in the best way: knights pursue honor, love, and glory while magic shapes the fate of the realm. The aesthetic is defined by gleaming armor, misty forests, and a suitably epic Wagner soundtrack.
In other words, this movie is fantastically operatic and visually bold, especially for its time. The imagery is hypnotic, and the action scenes are well-staged. Now, for the criticisms. First of all, a lot of the dialogue is weak, with characters trading plenty of awkward, bland lines. They lack the dramatic intensity that defines the rest of the movie. In addition, Excalibur is occasionally a little self-serious, though some fans of darker, more ambitious fantasy will also appreciate that.
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