Fantasy Movies are one of those genres that exude magic, that as children can make us dream of impossible worlds that are endowed with life by the techniques of the celluloid industry.
Throughout more than a century of cinema, the medium has received great exponents; generational films that have helped define the construct of the collective fantastic imagination works that have reformulated the methods of transferring these stories to the big screen, productions that have triumphed, against all odds, burning their name in the memory of viewers, and projects that have been great blows for their promoters.
All in all, what we are left with is a scenario marked by cinematic milestones that have been shaping the way of approaching this type of premiere, giving rise to an endless number of fantastic films that, throughout all this time, have made us dream whatever our generation.
Those of us who have already combed some gray hairs, grew up splashed by the hangover of the eighties, by those films that, after having completed their commercial cycle in theaters and in the sale of VHS, reached us on television. Stories like those told in The Dark Crystal, The Neverending Story, Lady Falcon, Willow, Conan the Barbarian, The Immortals, or The Princess Bride.
Products that took full advantage of makeup, scale models, and animatronics, while some of them flirted with the first digital effects (there we have The Secret of the Pyramid ).
But all these works would not have been as they were without the influence of films from previous decades such as The Holy Mountain (1973), Jason and the Argonauts (1963), Orfeo (1950), or many other stories that have preceded what today usually comes to mind.
Just as, naturally, that decade that is so fashionable today exercised its shaping agency over the 1990s and 2000s, which experienced the rapid evolution of those digital effects that, little by little, became as spectacular as they were affordable, allowing works as personal as Where the Wild Things Are , Pan’s Labyrinth or Uncle Boonmee recalls his past lives and worlds as beautiful as Middle Earth from The Hobbit.
In one way or another, and whatever the decade, the truth is that fantasy has always had the ability to make us dream, to materialize on the big screen the spaces inspired by dozens of novels and hundreds of stories. For this reason, today, taking advantage of the excuse of the publication of the first image of the new Lord of the Rings series, we make a selection with what we consider to be the 10 best fantasy films that cinema has given us .
Of course, taking into account how absurd lists of this type are with such a volume of cultural production, I invite you not to take the presence or absence of certain titles very seriously. At the end of the day, this is a classification that depends both on the author of the same, and on the moment in which it is written.
In other words, I encourage you to participate by putting your own and differing, the more the better, from what is stated here, except, perhaps, in the first place. That is not negotiable and surely many of you are with me. With that said, let’s get started.
The third installment of the Harry Potter saga appears here as the best exponent of his time in the cinema. It is representative of the solidification of one of the richest and most interesting fantasy worlds to have made the leap from books to screens in recent decades. Harry Potter is, today, a pop icon, one of the most powerful brands on the planet, and that is due, in large part, to his time in movie theaters.
The Prisoner of Azkaban is, in my opinion, the best film in the saga, a story that is rightly restricted by the limits of the novel, which incurs the always interesting time loops while taking a step forward. forward in terms of the iconography of the magical world.
The darkness impregnated by Alfonso Cuarón laid the foundations for what was to come in the saga, achieving a very particular tone that navigates between terror and innocence, inviting thousands of children to look at the screen while they covered their faces.
Jim Henson put us, in 1986, on the trail of Sarah and the search for her little brother, kidnapped by goblins and the powerful King Jareth. Coming from several of the minds behind the popular Muppets, this film featured George Lucas as executive producer, Terry Jones as a screenwriter, the great Frank Oz as an animator, and David Bowie unleashed.
Inside the Labyrinth is shown as an innocent story, but capable of capturing children and adults, something that it already achieved at the time thanks to its spectacular work in the field of analog animation.
The movie, a true masterpiece of puppetry, collects part of what Oz learned in The Dark Crystal and applies it to build a mythical story topped off with great success by its soundtrack that, how could it be otherwise, is by David Bowie. Generational.
Drama, comedy, and fantasy in Tim Burton’s greatest work. A story that brings together stories in what resembles a kind of anthology that conveys the life of its protagonist. Big Fish can be read as a song to the imagination that, discarding the truth and the boring of its immobility, plays with lies to try to reach valid conclusions about the real world. With a fantastic Ewan McGregor, its director gives us one of those trips that go straight to the heart, full of wonders, smiles, and melancholy.
Its aesthetic brings it closer to both the story and its narrations, generating a whole that works from beginning to end., immersing the viewer in his own mythology, and successfully combining drama and humor, something that always enhances both aspects. touching.
The list includes everything from sagas like ” The Lord of the Rings ” and ” Harry Potter ” to classic gems like ” The Thief of Bagdad ” and ” The Princess Bride “.
The list does not forget Spanish cinema either, with such illustrious representatives as ‘ Pan’s Labyrinth ‘, ‘ The Spirit of the Beehive ‘ and ‘ Snow White ‘.
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The fantasy genre has left us great stories, those that transport us to unthinkable environments in our reality and adventures that we could never star in. But that’s what movies are for, right? Following the ratings provided by Rotten Tomatoes, we put together this list of the best fantasy movies. The essential ones, the ones you should add to the list now, and see them as soon as possible.
We’re talking about movies like the ‘ Lord of the Rings ‘ trilogy, which manages to position itself high in the ranking thanks to its incredible visual power and Peter Jackson’s mastery in adapting Tolkien’s legendary novels. Although for iconic sagas, there are each and every one of the ” Harry Potter ” movies, a series of seven titles that conquered the box office for more than a decade and that do the same with this list, in various positions.
The adaptation of JK Rowling’s novels coexists with other childhood classics such as ‘ The Neverending Story ‘ or ‘ The Princess Bride ‘. But there are also jewels that escape the norm: there we find ”, Kenji Mizoguchi’s masterpiece, and also ‘ The Holy Mountain ‘ by Alejandro Jodorowsky. Are we whetting your appetite?
Without further delay, because seventy-five movies are a lot of movies, we delve into this complete list of fantastic titles perfect for lovers of the genre, those who enjoy traveling to other worlds and escaping from reality. Which is your favorite? What other titles do you miss? Tell us about it on social networks!
Besson regains his excellent pulse, although in some sequences he lets himself be carried away by unnecessary mimesis of the adventurous tone by Stephen Sommers. Shot with the levity of a suffragette vaudeville and the démodé charm of Larry Cohen, the film is a vintage carousel of monsters, museums, lingerie, and runaway fantasy”
In Aquila, a bishop who had fallen in love with a young woman (Michelle Pfeiffer), bewitches her along with her lover (Rutger Hauer), since she does not want to reciprocate. By the curse, she becomes a hawk by day and her knight a wolf by night. Thus, the couple does not consummate their love, and they are forced to wander through the villages. But there is something that could return their nature and with it their love.
“Don’t worry, this uptight guy is just as skilled with a sword as any Hyborian barbarian, and his destiny is also to fight the forces of Evil. Without resorting to stories, Michael J. Bassett offers a successful adaptation, respecting the spirit of Howard, albeit with a certain temptation of pretentiousness”
Annoyed by the dalliances of Zeus, four goddesses focus their revenge on their son Perseus and put all kinds of impediments so that he does not manage to conquer the beautiful Andromeda. However, the son of the god of gods enlists the help of Pegasus and Bubo. Thanks to the winged horse and the owl, Perseus manages to overcome all the obstacles that separate him from his beloved. Three diabolical witches and several monsters will try to frustrate his love for Andromeda.
Jason (Michael Angarano), a Kung Fu-obsessed Boston teenager, travels back in time to ancient China as the Monkey King’s only hope, turned to stone by a curse. To avoid the thousand and one dangers that await him, the boy will have the help of the mysterious Lu Yuan (Jackie Chan) and the Silent Monk (Jet Li).
With an extraordinary ability to guide the imagination of others, Doctor Parnassus hides a dark secret. Centuries ago he made a deal with the Devil to gain immortality, in exchange for giving him any children he had when he turned 16. Now wandering with his humble traveling theater and with a daughter about to reach that age, Parnassus is determined to change the deal.
“It also contains powerful, beautiful imagery and a story that fits perfectly into the context of a work ruled by incredibly strange creatures. But the feeling of seeing a pure Burton fades after a successful opening that sows anxiety: what follows is a salad with assorted ingredients that don’t always go well together:
A pinch of the ‘X-Men’ franchise (Jane Goldman, 2011 screenwriter of “X-Men: First Class,” was not chosen at random), another from the Harry Potter, a flash of “Trapped in Time” (Harold Ramis, 1993) and echoes, among others, of “Jason and the Argonauts” (Don Chaffey, 1963) regarding the belligerent skeletons and “The Devil’s Backbone ” (Guillermo del Toro, 2001) in that creepy and Dantesque shot of the falling bomb”