Thinly written and poorly performed, Netflix’s latest attempt at franchise-generation — the fantasy film Damsel — is among the worst big-budget projects on the streamer’s crowded roster. And this is saying something. We are, after all, talking about the platform on which you’ll be prompted to watch Red Notice over Roma, The Adam Project over Athena. Ostensibly a feminist fable, the film reeks of the male gaze, which can be plainly observed in the heroine’s appearance; her outfit gets increasingly skimpier as the film progresses. Damsel is directed by Juan Carlos Fresnadillo, who hasn’t helmed a feature film in over a decade, and written by Dan Mazeau, who’s had exactly one movie produced in the last 10 years. But this isn’t the kind of film that compels you to find out who’s responsible for it, because its committee-driven mentality becomes apparent even before the opening titles have rolled. For all intents and purposes, however, Damsel is an attempt to launch a new franchise for Millie Bobby Brown, whose Enola Holmes movies seem like masterpieces by comparison.
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