Fanteziporn

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Fanteziporn
Written by Time Out Film Monday 28 March 2022
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From Middle Earth to Manhattan, we've chosen 50 of the best fantasy films
Cinema is often seen as the ultimate form of escapism. If that's the case then fantasy movies are surely the medium's purest and most pertinent forms of transportation, grabbing the viewer and plunging them into distant lands and magical concepts that question our own relationship with the world.
Much like it's cousin science-fiction , fantasy, which was once a genre dismissed as nerdish, has grown and is headed into the mainstream, thanks in part to Peter Jackson's Lord of the Rings , Harry Potter and a certain HBO vehicle called Game of Thrones . However, as our list proves, not all fantasy movies are filled with wizards, dragons and epic battles. Here we've included body-swap films, superhero extravaganzas, as well as a healthy dose of sword and sorcery. Here is our selection of the 50 best fantasy movies.
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The Marvel Cinematic Universe boldly straddles sci-fi , comic-book action and fantasy – never more so than in the ‘Thor’ movies, with their Tolkein-influenced take on Norse mythology and outrageous ‘ Flash Gordon ’-style fetish costumes. ‘Thor’ is essentially a reboot of ‘ Masters of the Universe ’ – bulging hero heads to Earth to battle skeletal psychopath – but with better special effects and more nod-wink humour.
Magic moment: The glistening CG cityscape of Asgard could’ve come straight from a mid-70s Rick Wakeman LP cover.
Terry Gilliam gave his imagination full reign in this wild, woolly and weird time-hopping comedy for smarter kids. Packed with historical heroes, diminutive hustlers, post-Python humour, loopy cameos and bizarre fantastical asides – not to mention the bleakest, strangest ending imaginable – the film was an unlikely transatlantic smash hit.
Magic moment: David Warner’s petrifying Evil transforms into the universe’s creepiest fairground ride.
Shangri-La is the ultimate earthbound fantasy – an ancient magical kingdom buried deep in the Himalayas, ruled by peaceful Tibetan philosophers who have discovered the secret of eternal youth. Frank Capra’s adaptation of James Hilton’s hugely successful, Hitler-inspiring novel is a glorious, naïve fantasy adventure, the most expensive movie ever made at the time.
Magic moment: Ronald Colman’s climactic realisation that it was all real – and he has to get back there! – is pure, giddy wish-fulfilment.
Begun in Britain but completed in California following the outbreak of war, this spectacular adventure based on tales from ‘1001 Nights’ may have had a piecemeal production – and no less than six directors, including the mighty Michael Powell – but you wouldn’t guess it from the result. Crammed with magical horses, terrifying transformations and gigantic genies, ‘The Thief of Baghdad’ made an international star of low-born Indian actor Sabu, aka the Elephant Boy.
Magic moment: We all dream of having three wishes – but how many of us would ask for sausages?
Now one of the highest-grossing films of all time, ‘Black Panther’ is not just an important movie, it’s also a great movie. With an almost entirely black cast, a black director and black writers, the film is a thrilling exploration of afro-futurism, cultural oppression and revolution. Its story is magnificent, too, proving it to be one of the Marvel Cinematic Universe’s best standalone outing, and the acting feels electric, with the performances by Boseman, Jordan and Wright really standing out. It’s that rare breed of superhero movie that’s worthy of repeated viewings.
Magic Moment: Without a doubt, our first glimpse of Wakanda.
Dreamed up in a story by Steven Spielberg, the goonies are seven restless kids in a coastal town who, deserted by parents fighting a local real estate takeover bid, discover an old treasure map pointing to famed pirate One-Eyed Willie's galleon. Unfortunately, a family of incompetent thieves are also after the loot, and are not above shoving the hand of one of the little mites into a liquidiser to extort information. And while the pre-pubescents continually scream, their doting parents prove equally odious in a finale of astounding sentimentality.
Magic moment: One-Eyed Willie's galleon, the Inferno, is revealed in the grotto... and it's filled with treasure.
Writer-director Guillermo del Toro is the most original and uncompromising cinema fantasist of the modern era, and ‘Pan’s Labyrinth’ is his most striking statement. This gruesome, disquieting coming-of-age story draws on ancient influences – the central thread of a young woman drawn into terrible, otherworldly danger goes right back to ‘Little Red Riding Hood’ and beyond – and adds an unflinching depiction of the brutality of war.
Magic moment: Does any single image better encapsulate the darker side of fantasy than the hideous Pale Man, with eyes in the palms of his hands?
Not the first name you associate with fantasy, but Woody Allen pulled off one of his more out-there conceits with this tribute to the transportive power of the movies. It tells of a housewife (Mia Farrow) who, during the Depression, is swept off her feet by her favourite movie character (Jeff Daniels), who steps down from the screen and sweeps her into a heady romance. It gives a whole new meaning to the idea of the fantasy movie.
Magic moment: The ‘left behind’ characters in the movie, who sit bickering after their hero has departed for the ‘real world’. Dave Calhoun
All of Wes Anderson’s ornate, painstakingly precious films take place in a world just removed from our own, where anything seems possible. But he pushed that fantasy element to its extreme in ‘The Life Aquatic’, in which Bill Murray plays a globetrotting marine biologist exploring a bizarre, dayglo undersea world.
Magic moment: Whenever Seu Jorge’s plaintive, Bowie-obsessed ship’s minstrel strikes up, the film enters a whole new mystical realm.
Featuring a career-defining performance from Tilda Swinton, this Virginia Woolf adaptation from Sally Potter is a magical affair. Swinton plays Orlando, in turns a man and a woman, as s/he travels in half-century leaps from the Elizabethan court to the twentieth century, via the Civil War, early colonialism and more. It’s a sly, wise comment on things such as English history, sexuality and class, all of it wrapped in a beautiful, transporting fantasy.
Magic moment: When Orlando transforms again... and again... and again.
One of a number of classic fantasy movies based around the contradictory idea that the purest imaginative worlds can only be found in books (see also ‘The Princess Bride’), ‘The NeverEnding Story’ draws on the entire pantheon of fantastical fiction – from Norse and Egyptian folklore to Wagnerian excess to post-Tolkein adventure stories – and creates a uniquely dreamlike world of wonder and wish-fulfilment. The theme tune’s terrific, too.
Magic moment: The first flight of the luck dragon Falkor is a scene of pure, soaring joy.
Talk about a vindication. By the time of ‘The Avengers’, director Joss Whedon had been through the grinder of cancelled TV shows, mangled scripts and failed directorial attempts. So it was pretty big of Marvel to hand him the reins to the most anticipated comic-book movie of all time. It’s now the third highest grossing movie of all time. Despite cramming together the leads from a decade’s worth of superhero blockbusters, ‘The Avengers’ is so much more than just a wisecracking love-in between a bunch of guys in tights. As with much of Whedon’s work, it’s the sheer generosity that wins out, both to the characters and the audience. This is an overflowing goody-bag of a film, crammed with bar-raising action set-pieces, wonderfully sketched characters and just enough old-school Whedon wit to reward those who’d stuck with him all along. TH
Magic Moment: The first time the Avengers assemble on screen.
It was author Gary K Wolf who had the masterstroke realisation that Hollywood’s brooding, self-reflexive 1940s film noir period happened to coincide with the golden age of studio cartoons, and decided to smash the two of them together. Robert Zemeckis’s adaptation of his novel takes this idea and runs with it, creating a through-the-looking-glass LA where technicolour mayhem and monochrome angst go hand-in-hand, and you’re just as likely to star-spot Bugs Bunny as Humphrey Bogart.
Magic moment: The moment where the ‘supporting’ cartoon collapses to the sound of a director yelling ‘cut!’ is a paradigm-splattering eye-opener.
‘My Neighbor Totoro’ is beloved of kids around the world, but it was ‘Princess Mononoke’ more than a decade later that truly brought the films of Hayao Miyazaki to the Western world. An environmentalist epic about giant forest gods, the blind greed of human industry and a warrior princess raised by wolves, this grand fantasy story is animation on a scale unlike anything Disney has ever tried.
Magic Moment: The title character is introduced sucking poison out of a wound, blood smeared across her mouth. This isn’t your traditional princess.
William Dieterle’s supernatural monochrome melodrama has enjoyed a bit of a renaissance since Martin Scorsese echoed the film’s bright green lightning bolt in ‘ The Wolf of Wall Street ’. Following the not not-creepy inter-dimensional love affair between a poor painter and a girl named Jennie who seems to be from the past and aging rapidly, the film is a lot to swallow, but the squall it builds to is a perfect storm of truly impossible romance.
This Magic Moment: Scorsese got it right: that first flash of colour still sends a chill up your spine.
CGI never created anything quite so unique as special effects master Ray Harryhausen’s model figures. He considered this tale from Greek mythology to be his best film. Certainly it has some of his finest creations: towering bronze giant Talos looming out of the ocean, the winged harpies and the seven headed Hydra.
Magic moment: The still-iconic fight between muscle-men and a sword-wielding skeleton army.
Swiss-cheese plotting, dodgy accents, even dodgier kilts and Queen on the soundtrack: what’s not to love about ‘Highlander’? Why director Russell Mulcahy cast a Frenchman (Christopher Lambert) as a Scottish clansman and a Scotsman (Sean Connery) as a Spanish noble is anyone’s guess, but when the plot’s this crazed, the direction’s this MTV-tight and the villains are this insanely badass, we’re really not about to argue.
Magic moment: Lambert and Connery practice their swordplay on a mountain-top while Freddie Mercury bellows ‘Who Wants to Live Forever’ – pure, cheeseball glory.
The pinnacle of Wagnerian fantasy on screen, this adaptation of Robert E Howard’s crypto-fascist pulp stories is so much more than just a goofy sword ‘n’ sandal throwback. The Spanish desert backdrops are stunning, the production design is spectacular and Arnold Schwarzenegger punches a camel.
Magic moment: Cannibal cultist Thulsa Doom’s transformation into a giant serpent is a classic of pre-digital effects technology.
Blending fantasy and comedy is a tricky task – just ask David Gordon Green and the guys behind 2011’s woeful stoner spoof ‘ Your Highness ’ – but director Rob Reiner and author-screenwriter William Goldman made it look effortless with this feisty, fast-paced and genuinely funny fairytale. Their genius is to treat the fantastical elements completely seriously – the costumes are ornate, the special effects never look goofy and the world of the film is totally convincing, allowing the humour to shine through.
Magic moment: ‘My name is Inigo Montoya, you killed my father, prepare to die!’ Enough said.
An animated version of the book ‘Mrs Frisby and the Rats of Nimh’, this is a kids’ fantasy with a big soppy heart. It tells of Mrs Frisby, a fieldmouse, widow and mother trying to look after her young brood, one of whom is very ill, in the face of threats from humans and a race of souped-up, intelligent rats. Its sense of magic and danger is heightened by the story sitting on a base of grief. It also features the least cuddly, most terrifying wise old owl you could imagine.
Magic moment: When we learn how the skulking, super-smart rats gained their powers.
Drawing on Sufi teachings, religious tracts and surrealist art rather than the traditional Northern European folk tales, Alejandro Jodorowsky’s experimental, psychedelic fantasy stands completely alone on this list. Obscure, artful and gleefully avant-garde, the film follows an acid-fried modern Jesus as he meets an alchemist and transcends through the seven levels of enlightenment.
Magic moment: It’s hardly RSPCA-approved, but the re-enactment of the Spanish conquest of South America using frogs and toads is one of the most remarkable scenes in cinema.
Ultrastylish commercials director Tarsem Singh spent millions of his own dollars collecting footage over several years for this entrancingly exotic fantasy, rooted in the medicated ramblings of a wounded stuntman (Lee Pace) who charms a little girl in the hospital with his outlandish tales. The dreamlike story he cooks up is tinged with traumatic catastrophe, but also one of the most glorious adventures ever captured on film.
Magic moment: A breathtaking opening credits sequence, shot in slo-mo and black and white, shows a train-track stunt gone wrong.
Tobey Maguire and Reese Witherspoon were plucky up-and-comers when they played a pair of siblings who are magically transported through the TV screen and into the monochrome world of Pleasantville, a happy 1950s town where everyone’s polite, prim and happy – on the surface. ‘ Hunger Games ’ director Gary Ross’s pin-sharp satire brilliantly undercuts the American Dream, and the visual trick of gradually shifting the film from black and white to colour to reflect the characters’ cultural awakening is masterful.
Magic moment: Repressed suburban Mom Joan Allen tries her hand at a little sexual self-fulfilment, and a tree outside the window explodes into glorious colour.
From its very beginning, cinema was indebted to fantasy, with Georges Méliès leading the way. The ambition of today’s multi-feature sagas can be traced back to Fritz Lang’s two-part 1924 silent based on the mythic German poem ‘Nibelungenlied’ and lavished with groundbreaking special effects, comely princesses and tons of swordplay.
Magic moment: The first instalment, ‘Siegfried’, features a giant, drooling dragon – a fully functioning puppet that’s the grandfather of Jabba the Hutt.
If all you remember from ‘Muppet’ creator Jim Henson’s cult magical fantasy is Goblin King David Bowie and his terrifying codpiece, look again. This is a film bursting with ideas – philosophical, literary, mathematical, even spiritual – and the ornate, crumbling Labyrinth is a wholly unique imaginative landscape.
Magic moment: The mournfully psychedelic junkyard sequence strikes a jarring but memorable tone of doom amid all the furry, freaky goings-on.
Move over, ‘ Mulholland Drive ’: Jacques Rivette’s enchanting meta-fantasy begins with a distracted young woman stumbling through a Parisian park. She loses her scarf and when a curious onlooker retrieves it, the chase is on, one that plunges into exchanged female identities, interdimensional time travel and a mysterious house where nothing is set in stone.
Magic moment: The whole movie is a spell, but how can we not single out the bizarre coda of a boating scene? Reality merges with fantasy, not unpleasantly.
For the follow-up to their loopy time-travel pastiche ‘ Bill & Ted’s Excellent Adventure ’, writers Ed Solomon and Chris Matheson turned to the maddest, baddest fantasy novel of them all: The Bible. This time around, our doofus heroes from San Dimas, California are killed, condemned to hell, escape Satan, play Twister with Death, strike a bargain with God and end up saving the world through a combination of screeching guitars and extreme party vibes. Amen.
Magic moment: Bill and Ted convince St Peter to open the pearly gates by quoting Poison lyrics at him.
If Terry Gilliam thought he’d been dragged through the ringer by the studios following his brutalist sci-fi comedy ‘ Brazil ’, he hadn’t seen nothin’ yet. ‘Baron Munchausen’ became a byword for mega-budget disasters: the budget spiraled, the special effects collapsed and audiences stayed away in droves. But the film remains a wounded wonder, crammed with wild ideas, bizarre costumes, berserk characters and a unique sense of giddy, anything-goes experimentation.
Magic moment: The Baron and his sidekick Sally travel to the moon and find a Lumiere-inspired madhouse peopled with giant schizophrenics.
The dream sequences of master director Luis Buñuel are always charged with a sociopolitical dimension, and this satire – one of his finest and most concentrated efforts – is no exception. A group of mildly haughty, self-entitled friends attempt to sit down to dinner together. All they want is to be served, but Buñuel has other plans for them.
Magic moment: Delighting at a menu of multiple fish options and a deep wine list, the party hears weeping: behind a curtain, the restaurant’s manager lies dead.
Ang Lee’s high-flying melodrama, a vivid reinvention of the wu-xia genre and one of only nine foreign-language movies to ever be nominated for Best Picture, is still an unimpeachably perfect combination of physical and emotional combat. The fight choreography has yet to be topped, and every balletic moment of soaring wire-fu reveals something about the character who’s swooping through the air.
This Magic Moment: The first fight scene along the rooftops in the middle of the night, as the drums pound away on Tan Dun’s score. Holy hell.
Johnny Depp and Tim Burton did an okay job years later with Roald Dahl’s children’s classic, but their version is not a patch on the 1971 original. Partly that’s because this adaptation feels much more suited to the down-to-earth, less polished feel of Dahl’s book, while Gene Wilder nails the role of the reclusive confectionary magnate who lets a small group of children into his factory, switching brilliantly between avuncular, withering and creepy.
Magic moment: When Gene Wilder throws away his walking stick.
A boatload of Oscars would arrive with the next film, ‘ The Return of the King ’, but here’s where Peter Jackson’s
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