Artemis Fowl (2020)

Official trailer

Artemis Fowl is the 2020 Kenneth Branagh-directed fantasy adventure starring Ferdia Shaw as the title character, a twelve-year-old criminal mastermind whose father’s disappearance drives his engagement with the underground fairy civilization.

Lara McDonnell plays Holly Short, a fairy officer with the Lower Elements Police. Josh Gad plays Mulch Diggums, a kleptomaniac dwarf who provides narrative framing. Judi Dench plays Commander Root, the LEP commanding officer. Colin Farrell plays Artemis Fowl Sr. Nonso Anozie plays Domovoi Butler, the family bodyguard.

Conor McPherson and Hamish McColl wrote the screenplay, adapting Eoin Colfer’s fantasy novel series. Disney produced the film on a budget of approximately one hundred twenty-five million dollars and released it directly to Disney+ streaming distribution following pandemic-related theatrical release cancellation.

Almost everything about this film exasperates me. Disney had one hundred twenty-five million dollars, Kenneth Branagh, Judi Dench and a beloved book series, and it turned all of it into something that plays like a trailer for a better movie.

Critics rejected it and audiences shrugged, and I think both reactions were right. The move to Disney+ came from the pandemic, and I don’t think a theater would have saved it.

It shows how a string of bad decisions can sink a film that had every resource a studio can buy, and I find that more infuriating than a cheap flop, because the money and the talent were all there.

The Source Material Departure

The film departs from Eoin Colfer’s novels in ways readers have complained about. In the books, Artemis is a morally complicated anti-hero, a young criminal whose schemes give the series its bite. The film sands him down into an ordinary family-movie protagonist. That’s the choice that makes me angriest, because the edge was the whole appeal, and somebody decided a criminal mastermind shouldn’t be much of a criminal.

The damage from that departure spreads through the whole production. The restructured story muddles basic plot points, the relationships are compressed past believability, and the mythology arrives by voice-over instead of through drama. Readers of the books get a stranger, and newcomers get a puzzle. I can’t think of an audience this version serves.

The Production Failures

Every department seems to drag the others down. The pacing lurches from scene to scene, the character work never has room to breathe, and for a hundred twenty-five million dollars the effects are merely competent. I can’t get past that last one. A studio with that budget should be putting something on screen I haven’t seen before.

The Kenneth Branagh direction works below the director’s established standards from prior work including Henry V (1989), Much Ado About Nothing (1993), and Hamlet (1996). The departure suggests major production complications beyond the director’s individual control. Hollywood studio productions involve input from multiple parties that can compromise directorial vision considerably. Whether the production complications emerged from Disney studio intervention, screenplay limitations, or other factors, the directorial achievement falls below Branagh’s established capacity. Directorial talent can produce compromised work when surrounding production conditions don’t support the directorial ambitions.

The Pandemic Release Context

The film’s direct Disney+ release instead of planned theatrical distribution reflected pandemic-related cancellation instead of original production strategy. The decision affected the work’s evaluation context considerably. Theatrical release would have produced different commercial and critical reception conditions. Streaming release allowed audiences to encounter the work without conviction but also reduced the marketing engagement that theatrical release would have generated. The pandemic context complicated evaluation of whether the work’s major reception failures emerged from production quality or from distribution complications.

The later reception across the years since release has confirmed initial critical assessment. Audiences encountering the work through Disney+ have generated sustained criticism that the production quality matches the initial critical response.

The pandemic context didn’t affect the work’s evaluation. The work’s reception failures emerge from production quality instead of from distribution complications. The pattern shows that major production failures can’t be attributed to distribution context when later reception confirms initial assessments.

I don’t buy the pandemic as an excuse, and the reception since then backs me up. A good film on Disney+ is still a good film, and this one would have let me down on any screen.

Should you skip Artemis Fowl?

Artemis Fowl gets a 3 from me, and the number is about waste. Disney had strong source material, a director with Henry V and Hamlet behind him, Judi Dench and a hundred twenty-five million dollars, and it produced a muddled, softened, voice-over-driven mess that satisfies neither the book’s readers nor anyone new to the story. I’d only point Disney completists or people who study production failures toward it.

If the premise appeals to you, read Eoin Colfer’s novels. They have the nasty, clever kid this film was too timid to put on screen.

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