Last Updated on July 24, 2024
PLOT: 11-year-old Mildred’s world is turned upside down when her estranged father, the washed-up magician Strawn Wise, comes to look after her and agrees to take her camping to find a mythological beast known as the Canterbury Panther.
REVIEW: I’m not sure what it is about films from New Zealand but they always impress. You could point to the wonderful geography, which adds so much to the look of the film. Or maybe it’s the talent both in front of and behind the camera. And Bookworm certainly isn’t lacking in either. Like Hunt for the Wilderpeople, this takes a whimsical approach that’s just as heartfelt as it is funny. While it’s certainly magical, everything is grounded and hardly ever crosses over into the absurd. And it’s really not afraid to go to dark places.
Bookworm follows Mildred (Nell Fisher) after something tragic happens, and her father has to come and watch after her. Mildred decides she’s going to set off to find and take a photo of a mythical Panther, hoping the reward will make a difference in her life. Most will remember Nell from Evil Dead Rise, but she doesn’t have to hide her Kiwi accent this time. Fisher delivers a fantastic performance, having to bring adult pathos at such a young age. While many will take the chance on this due to Elijah Wood, it’s Fisher who really carries the film. She works as wise beyond her years and stands toe to toe with Wood with ease.
And so much of the Mildred character is built up by this journey and how much she feels like she’s outgrown both her parents. One due to abandonment and one due to too much attention. I was ecstatic to see Housebound‘s Morgana O’Reilly appear as Mildred’s mother Zo. Unfortunately, she’s in very little of the film, but her charisma shines through and proves why she needs to be involved in more projects. But her interactions with Mildred help to set up a confident young girl, completely unaware of how much she still needs both of them.
There’s a lot of conflict between the father and daughter as he’s seemingly left her to pursue a career in magic. Given magic’s significance to Strawn, Mildred rebels and takes out her anger towards his abandonment of all things magic. These are the moments where Wood really takes his performance to another level. His failures as a father reflect his failures as a magician. He’s constantly reminded of this, whether it’s through travelers they meet or his very own daughter. He and Nell can get across so much that it allows a lot more nuance in how they expose elements of the past.
Bookworm is an absolutely gorgeous film. Whether it’s the lush interiors filled with books, woodwork, and shadow or the vast New Zealand landscapes, it’s a constant treat for the eyes. The first portion of the film is in 4:3, putting an emphasis on the claustrophobic interior of the house. Once the journey begins, the film shifts to anamorphic widescreen which lends itself to the fantastical aesthetic. The CGI is really impressive given its small budget. And they know when to mask stuff that may otherwise look silly.
The film takes a weird detour in the name of drama. It really showcases how absolutely pathetic Strawn is, but it can be a tad frustrating. Gets dark enough that it could turn off those looking for lighter fare. I’m a twisted bastard though, so I appreciated its willingness to go dark. Don’t let the strange Dora the Explorer poster turn you away because Bookworm has all the makings of a New Zealand classic. Fantastic performances from Wood and Fisher help to carry a fantastical journey. I see myself putting this on for years as it gives that warm feeling that few manage. This is an adventure in every sense of the word, and the world would be better off with more films like it.
BOOKWORM IS CURRENTLY PLAYING AT THE FANTASIA FILM FESTIVAL AND WILL BE RELEASED LATER THIS FALL/WINTER.
Originally published at https://www.joblo.com/bookworm-review-fantasia-2024/
