### **Review: *Fairyland (2025)*** **Score: 7/10** *Fairyland* (2025) is a visually opulent yet narratively uneven fantasy-adventure that feels caught between the whimsical charm of a children's fable and the darker, more sophisticated lore of modern fantasy epics. It aims for timeless enchantment and occasionally achieves it, but struggles to maintain a consistent tone or a truly compelling plot across its runtime. **What Works Well:** * **Stunning Visual Imagination:** The film’s greatest strength is its breathtaking visual design. The titular Fairyland is rendered with a painterly beauty, blending practical creature effects with CGI to create a world that feels tactile and magical. From bioluminescent forests to crumbling, vine-covered castles, it is a feast for the eyes that successfully sparks a sense of wonder. * **A Strong, Grounded Lead:** The protagonist, a cynical young cartographer from our world pulled into the realm, is portrayed with a relatable weariness and intelligence that anchors the fantasy. Their journey from skeptic to believer provides a solid emotional throughline. * **Inventive Creatures & Magic:** The film shines in its details—the side characters and magical beings are creatively designed and often charming. The rules of the world’s magic, while simple, are presented with a visual flair that makes them engaging. **What Holds It Back:** * **A Pastiche of Familiar Tropes:** The story feels overwhelmingly derivative, stitching together well-worn fantasy plot points—a hidden heir, a dying magic source, a plucky band of rebels, a dark force of corruption—without bringing enough novelty to the table. The emotional beats often feel predictable. * **Tonal Whiplash:** The film can't quite decide if it’s a lighthearted adventure or a serious quest. Moments of genuine peril and loss are undercut by jarringly broad comedy or saccharine sentiment, preventing the narrative from achieving a cohesive or impactful emotional depth. * **Underdeveloped Antagonist & Stakes:** The central threat to Fairyland remains abstract and generic. The villain's motives are simplistic, and the ultimate danger lacks urgency, making the final confrontation feel more like a required spectacle than a gripping climax. **Verdict:** *Fairyland* is a perfectly serviceable and often beautiful piece of weekend escapism. It delivers on the promise of spectacle and family-friendly adventure, but fails to leave a lasting impression. It’s the cinematic equivalent of expertly crafted, delicious cotton candy—enjoyable in the moment, visually appealing, but ultimately insubstantial and quickly forgotten. It will delight younger audiences and satisfy a casual craving for fantasy, but will leave seasoned genre fans wishing for more narrative meat on its enchanting bones. **Watch if:** You are in the mood for undemanding, visually spectacular fantasy; are watching with younger viewers; or simply want a colourful escape. **Skip if:** You seek innovative world-building, complex characters, or a story with the emotional weight and originality of films like *The Dark Crystal*, *Pan's Labyrinth*, or *The Spiderwick Chronicles*.

"Alysia" (the engaging Nessa Dougherty) has just lost her mother in a car accident and so is growing up with her dad "Steve" (Scoot McNairy). He wants to move to San Francisco to make a new start, despite the protestations of grandmother (Geena Davis), an so they end up in a flat-share with a lively group of folks. Almost immediately, her dad hooks up with "Eddie" (Cody Fern) and her story becomes one of a girl (now Emilia Jones) living with a father who is clearly gay. As a child, she's pretty unphased by his lifestyle but as she grows older, she wants to know more about her mother and just what the dynamic of their relationship was. She moves away to study and that's when AIDS begins to rear it's ugly head at home and their tiny family has to start to deal with consequences that gradually encroach upon their own lives. Perhaps because I do watch a lot of gay cinema, this didn't impact on me as I had hoped. It does offer us a glimpse into the sexual peddadiloes of a generation of men finally feeling liberated from societal constraints and believing in their own, often cocaine-fuelled, immortality but the acting didn't quite hit the mark. Jones doesn't really stand out here - her effort to display a character juggling her own life with that of a father she loves but perhaps doesn't feel she knows as she should is adequate but lacks any spark. McNairy is probably as tested as he is ever going to be as an actor, and again he does fine but not outstandingly as his portrayal of a rather selfish man follows all too predictable a characterisation. The production design is authentic looking and the film does exude a sense of the joy before the storm that swept America in the 1970s and early 1980s, but I didn't feel this brought anything new to the discussion.I