Millie Bobby Brown takes on a Rambo-esque role in the entertaining Netflix movie, Damsel.

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Challenging the traditional expectations of how a fairytale unfolds and giving them a speedy twist is not as innovative as some filmmakers may believe. Netflix’s Damsel, which bears resemblance to Hulu’s future release The Princess, does not depend on impressing us with its reinvention to meet expectations and remains light-hearted without being bogged down by self-congratulation.

There are very few surprises in this show. The script may have been improved with some unexpected twists, but there is still a satisfying feeling in watching an underdog rise up and seek revenge. Leading lady Millie Bobby Brown plays Elodie, who faces her own struggles. Her family, including her father (Ray Winstone) and stepmother (Angela Bassett), are trying to overcome their own challenges. But when a prince from a distant kingdom (Nick Robinson) proposes to Elodie, with the approval of a strong-willed queen (Robin Wright), it seems like her problems might be solved. However, her fairytale wedding turns out to be a nightmare as she is sacrificed to a dragon in an ancient ritual. Elodie must fight to survive and find a way back to safety, turning her romantic story into a horrifying battle.

This is a teenage version of the familiar story of revenge after being left for dead, and in a genre that has been overused, the experience of seeing a young woman embrace her role as an action hero is somewhat more refreshing (compared to another film about a bride discovering her wedding is a sacrifice, it is more successful than 2019’s Ready or Not, a movie that seems overly self-satisfied and unconcerned with entertaining its audience).

Juan Carlos Fresnadillo, a Spanish filmmaker known for his work in genre films, directs Damsel. After a break from Hollywood, he returns to bring us an adventure filled with simple yet enjoyable moments as we witness Elodie’s journey towards self-reliance and independence, ultimately valuing these traits over the prospect of being with a prince. The film carries a subtle feminist message with a queen ruling the kingdom, Elodie’s stepmother taking charge of the family, and a powerful female dragon inhabiting the cave. It also gives room for experienced female actors to shine, with Wright portraying her character in a convincingly cold manner and Aghdashloo delivering a chilling voice performance. However, as a young actress, Brown sometimes displays too much emotion and delivery in her lines, which may have worked in her previous roles but feels forced and artificial at times in Damsel. Nonetheless, her performance shines when the role requires her to switch from words to action.

Although some of the expansive landscapes may seem enhanced by artificial intelligence, Damsel manages to avoid most, if not all, of the visual cues that would remind us we’re watching a low-budget Netflix version rather than a big-budget blockbuster. The world is engrossing, albeit slightly unexplored, and the dragon is animated with more captivating movements than other computer-generated creatures featured in similar movies. While the dimness of the cave scenes can become tedious, and there are some clichéd moments towards the conclusion, the lighting is thankfully well-done.

Damsel may not entirely rewrite the traditional storybook, but it offers a proficient reinterpretation, a thrilling tale of revenge with a subtle yet inspiring message for its young female viewers and a soothing remedy for older audiences who have long been fed the same tired gender stereotypes. This time, there is a hint of spice to complement the sweetness.