Willow Reboot Introduction
Willow Reboot: It's simple to overlook how much blood the Walt Disney Corporation is attempting to squeeze out of the stones of its existing properties despite all the (deserved) adulation "Andor" has brought to Disney+. The expansive, IP-friendly universes of Star Wars or the Marvel Cinematic Universe should definitely be expanded. But did anyone request a streaming sequel to "Willow"?
In case you've forgotten, "Willow" is the red-headed stepchild of the Lucasfilm library (that would be the majority of us, save the occasional '80s fantasy aficionado). The sword-and-sorcery comedy, which was directed by Ron Howard, centers on a dwarf farmer who becomes a reluctant sorcerer (Warwick Davis, who is playing the lead part for the first time), a magical infant who ends up in his care, and an evil wizard who wants to murder them all.
The stuff of tales, if you add a rakish, Han Solo-like swordsman (Val Kilmer's Madmartigan) and some of that distinctive George Lucas creativity. Unfortunately, "Willow" wasn't meant to be, and no amount of ILM magic could save a story that was full of tired tropes.
The bean counters at Disney, however, saw untapped franchise potential in the abandoned failures of the past, so here we are with an eight-episode legacy sequel to the movie. Surprise, surprise: It isn't even close to being horrible for what it is.
The series (created by "Solo" author Jonathan "son of Lawrence" Kasdan), which is set years after the original movie, follows the residents of Tir Asleen over the years. The kingdom is ruled by Madmartigan and Joanne Whalley's Sorsha, although Madmartigan vanished on an unknown mission years ago. In addition, the infant Elora Danan who Mads and Willow fought to protect in the movie has also been hidden away out of fear of a greater evil to come.
The kingdoms tranquility is soon disturbed by the appearance of a group of supernatural adversaries who kidnap Sorsha's rebellious son Airk (Dempsey Bryk) and drag him over the Shattered Sea, where no one dares follow. But if we must, since this is an adventure, Airk's independent sister Kit (Ruby Cruz) puts together a crew of outcasts to save him. First step: Locate the solitary sorcerer Willow and enlist his assistance.
She is accompanied by the standard cast of D&D characters, including Kit's best friend and aspiring knight Jade (Erin Kellyman), her cowardly future husband Prince Graydon (Tony Revolori), bulky brawler and thief Boorman (Amar Chadha-Patel), and Dove (Ellie Bamber), Airk's lowly sidekick who carries a torch for the prince as well as some magical secrets.
The chemistry between the odd protagonists Davis and Kilmer was one of the original "Willowfew "'s attractions, and this version amplifies that sense of irreverence. Our heroes barely use thees and thous; rather, Kit, Willow, and the group heavily rely on a totally contemporary vernacular, slinging one-liners and banter with all the fervor of Joss Whedon characters. (Revolori and Chadha-Patel play their parts especially well, while Bamber serves as a wry counterpoint to Davis' trademark grumpiness.)
It's a wonderful surprise to discover how effortlessly it all goes down because, in less capable hands, this could fall flat on its face. Every member of the ensemble has a chance to shine, both on their own and in pairs. Examples include Kit and Jade navigating their budding romance, Graydon toiling to earn respect after living a life of privileged luxury, Boorman evading a sinister past, Willow educating Dove in her newfound abilities, etc. Everyone has something they want to prove to the kingdom and themselves, and Kasdan and his team manage to strike an amazing balance for each of their endearing characters.
The beats become increasingly monotonous as the eight-episode season goes on, so it doesn't all work. Get ready for episodes to close on dark renditions of "Hurdy Gurdy Man" and "Enter Sandman," which feel out of place even in the ironic style this program traffics in. At times, the show's joking tone undercuts its brushes with profound sadness.
Additionally, we still have to deal with the murky visuals and complicated story that are standard for streaming shows like these. Occasionally, a stunning fantasy scenario appears: There is a ghostly woodland here, and a statue-filled deserted city there. But eventually, in a monotonous, day-to-night fog, you get a number of battles that lose their mediocre fight choreography.
The much-heralded "Volume" technology, which has made many Star Wars shows appear crowded and cheap, is almost probably used in the series. Nevertheless, "Willow" finds some creative applications for it, particularly during a protracted journey across a lonely, walkable sea where they encounter isolation and hopelessness.
However, the program loses momentum whenever we diverge from our likable group into the gritty details of the quest. This is especially true considering that the Big Bad of the series is almost never seen outside of a few hushed murmurs. Although there are the customary sidequests, you end up caring more about Boorman's verbal sparring with Kit than whether he manages to obtain a suit of magical armor.
But that's what makes "Willow" so intriguing. Even if the program occasionally loses its way in its complex narrative (everyone has a murky background or a secret identity/allegiance to deal with), the calmer moments spent with our steadfast group are the most moving.
In the end, I'm not sure if there is a market for a sentimental sequel to "Willow." But if there is, then this is most likely how to go about it: Give Warwick Davis the opportunity he deserves to shine, and add a contemporary sensibility that largely succeeds. It might not be the most essential sequel, but it is undoubtedly enjoyable. And isn't that ultimately what matters?
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