Observed during the preview of Dungeons and Dragons. The honor of thieves (VF of Dungeons Dragons: Honor Among Thieves), written and directed by Jonathan Goldstein and John Francis Daley: This amusing and fun adaptation of the first tabletop role-playing game walks with ease on the (sword’s) edge that might have cut fans off from those who never caught this fantastico-medieval fever appeared in the 1970s. A major surprise, therefore, after three rather failed films dating from the turn of the millennium.
In short, if we rely on the laughter and applause that punctuated the screening, the feature film (in which screenwriter Michael Gilio also got his hands dirty) seduced everyone. Even if we feel, by their reactions, that the masters es D&D are one step ahead of newcomers to this universe. But without the latter being left behind. Because carried out at full speed, the quest told here borrows a classic pattern that does not disorient anyone (good point), but, suddenly, does not surprise (less good point). And then, happiness for all, it is supported by a cast of shock which has an contagious pleasure to carry out and, even, to play with the image which, filmography obliges, sticks to the skin of the ones like the others.
Thus, Regé-Jean Page, revealed and magnified by The Bridgerton Chronicles, becomes a Paladin combining perfectly (!) power and elegance. As for Michelle Rodriguez, badass who fuels the family spirit in the franchise fast-furious, she has fun in the skin and stubborn gaze of a rustic barbarian, but with a heart of gold. Hugh Grant puts on the now familiar gloves of the power-hungry villain, the honeyed manipulator that we see coming from afar (even on the Oscar carpet).
revenge is not play
Finally, the last which is (of course) the first, Chris Pine. Rebellious and charming Captain James T. Kirk in the reboots of star trektragic love of Diana Prince in the wonder womanhe weaves these ropes to create a thief-bard-widower-father-prisoner on the run betrayed by an accomplice he wants to get his hands on for (slightly) nobler reasons than revenge alone.
He therefore forms a shock team (in the manner of Impossible mission) battle-ready (like the Avengers) in a medieval world of fantasy (Middle-earth style) rich in magic as much in the creatures that inhabit it as in the objects that are hidden there. He then throws himself into the void (figuratively and literally) and, with his more or less joyful companions, faces obstacles. Logic dictates that they are demolished in less than two. But they overcome everything and everyone. Because they have heart… not just stomach.
And it is this heart that makes the film not the usual orgy of special effects (they are particularly successful here), of demolition in order and bogus humor – even if there is all that . This heart that makes the charm and the sincerity of a feature film that takes the game out of the box and the books to deploy it on a gigantic scale. While not losing its soul.
The relationships between the characters, for example, tell of the importance, the strength and the beauty of these families which are not those of blood, but which we choose ourselves. There is a warmth and good nature there, but also a depth (not highlighted) that is good to feel in this context, the surface of which is a monumental game board where everything can be decided with a throw of the dice.