Willow 2022 Review: A Fun But Unnecessary Sequel

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Willow Title; Credits: Disney Plus
Willow Title; Credits: Disney Plus

The blockbuster 1988’s fantasy film Willow, directed by Ron Howard, is back in Disney Plus Series. For those who have forgotten, the ginger step-child of the Lucasfilm collection is “Willow.”

The sword-and-sorcery comedy, which Ron Howard directed, revolves around a dwarf shepherd who becomes a reluctant wizard, a magical baby who ends up in his care, and a wicked wizard that wants to murder them all.

The stuff of legends if you add a rakish swordsman in the mold of Han Solo and some of that distinctive George Lucas creativity. Unfortunately, “Willow” wasn’t intended to be, and no amount of ILM magic could save a story that was full of tired tropes.

The cast of the Willow Series

  • Ruby Cruz as Kit Tanthales
  • Ellie Bamber as Elora Danan
  • Erin Kellyman as Jade Clayman
  • Tony Revolori as Graydon Hastur
  • Amar Chadha-Patel as Thraxus Boorman
  • Warwick Davis as Willow Ufgood
  • Dempsey Bryk as Airk Tanthalos

Willow Series Review

Although “Willow” is an odd choice for a Disney+ series adaption, it is also the ideal one because of the overall lack of interest in it. Fandoms are extremely protective of their mythology, but in the case of “Willow,” there aren’t enough people who like the movie to rise in opposition to a change in the film’s creative direction. Lucas gave his basic approval for Jonathan Kasdan to create a television series based on his characters. Kasdan had already altered Lucas’s history in his script for “Solo: A Star Wars Story.” A fan of the original work, Kasdan also enjoys overlaying his universe on top of Lucas’ setting.

“Willow’s” flawless balancing act of respect and mockery is what quickly elevates it to the top tier of Disney Plus shows, and only such an unswept tale could have achieved this combination. As exciting as Disney’s Marvel and “Star Wars” series can be, viewers may find their interconnection to one another and to their larger cinematic universes to be restricted to their creativity and exhausting. While this is going on, “Willow” is merely here to entertain; it does so so successfully that it completely revitalizes a previously trash-binned property.

As the heroic magician who saved a newborn who was targeted for execution by an ice queen who believes the child will one day overthrow her, Warwick Davis keeps the lead role. However, Willow Ufgood has plenty of time since he is off-screen enjoying his finest miraculous life at the beginning of the episode. The first thing Kasdan must do is quickly run over a plot outline of the movie before introducing the new actors who will eventually work with enduring figures like Willow. Ruby Cruz and Dempsey Bryk’s twins, Kit and Airk, are destined to replace their mom Sorsha, as the monarch of Tir Asleen, or at the very least, continue in her royal lineage.

The acting is the main highlight of “Willow,” which, as the harshest critics of the movie pointed out, wallowing in the genre is a cliche and relies on a muscular execution to take it beyond fantasy-by-numbers. As is Whalley, who effortlessly reverts to Sorsha’s mannerisms and murky motivations, Davis is excellent in a role he’s yearned to play since the movie. But “Willow” wouldn’t exist without Cruz, Kellyman, and Bamber, a trio of up-and-coming performers who provide a more solid framework for the program than any of the mythology that supports it. As much the liveliest wire in this scene as she was in “Captain America and the Winter Soldier,” Kellyman is particularly captivating.

Despite the quick plotting and abundance of action setpieces in the first three episodes, there is something wrong with the early character encounters, which may sometimes feel rushed and crammed together.

The 4th episode, a bottled episode of a huge scary castle, can be termed a bottle, however, it makes all the table setup worthwhile. The episode is the one where the program gels since it skillfully combines its romantic tendencies with the world’s scariest elements. It is a great delight and reminds me of the J.R.R. Tolkien story “Evil Dead.” Whatever opposition there may have been to this genre gem by the moment, the fifth episode opens with a chase scene set to the Swedish punk rock band Alle! Alle! Goes away. 

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By Arushi Chadha

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