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Prince Amlet takes revenge on his father's murderers and wants to reclaim the kingdom that is rightfully his.

Where are we exactly? Amidst the Scandinavian legend that inspired Shakespeare's “Hamlet”. But in this Viking ur-“Hamlet” (Eggers wrote the screenplay with Icelandic poet Sjón), there is no existential constraint for Amleth about duty and fate. He lives for revenge. Next time we see him, he's a ferocious, muscular Marauder — "a beast, clothed in human flesh" — who would smash most Hamlets tied to the stage like a twig. Amleth (a hulking Alexander Skarsgård) is less likely to soliloquize with a skull than to detach one from someone's body. After getting his fill of Viking stuff (there's a foray into a beautifully and brutally organized Slavic village), Amleth calls himself a slave and boards a boat bound for Iceland, where Fjölnir has relocated his kingdom to a verdant hill. and grassy. Among the workers is Anya Taylor-Joy, a veteran of “The Witch”. With tantalizing justice nearby, Amleth takes up arms against a sea of ​​trouble. There's great method but not enough craziness in "The Northman," Eggers' third and by far most ambitious film. With historical rigor and aged atmospheres, Eggers has already established himself as one of the most distinctive voices of his generation. His first film, 2015's "The Witch," is set among Puritan settlers in 1630 New England. His 2019 film “The Lighthouse” starred Dafoe and Robert Pattinson as crazed lighthouse keepers off the northeast coast in the 1890s. All three films not only take their story seriously, but hide in nightmares past—or maybe not so past. As he delights in the opening of “The Northman”, “they evoke the shadows of past centuries”. The recent trend of folklore in movies can, in minor movies, sound like the movie version of a paleo diet. But Eggers' films brought the power of resurrected and reanimated myths, and in doing so, they unearthed rich new territory. “The Northman,” with a reported budget of over $70 million, is a larger, more archetypal canvas. With sweeping Scandinavian vistas and an ending amid flaming lava rivers atop an ash-spewing volcano, “The Northman” is forged in mighty primal fire. It is, albeit a lean story, with not as much meat on the bone as its ambition might require. Mythical simplicity is part of the point of "The Northman," but the film's unwavering protagonist and his elemental conflicts are closer to "Conan the Barbarian" territory than perhaps ideal. Eggers' film is only enchanting at times and loses its petty momentum. Once Amleth returns home, he bides his time, and the film seems to fill time with supernatural sequences and comedic, grotesque murders. For the first time, it seems Eggers is relying more on pagan spectacle than psychology to guide the film, and the result is a seance that doesn't quite captivate, despite a sincere effort to do so. This could be attributed to the imperatives of a higher budget production and the need to reach a wider audience, or to a cinematic instinct that seems to rely on howls, barks and shouts to capture something. primitive that he cannot evoke. The scenes with Amleth's mother, with a feisty Kidman, perhaps come too late in a film that, after a long journey, begins to draw the male mythos on which it is based more dramatically. Amleth's vows are not an oath but a curse, proving another age-old adage: never trust Willem Dafoe. “The Northman,” a theatrical release from Focus Features on Friday, is rated R by the Motion Picture Association of America for strong bloody violence, sexual content and nudity. Duration: 137 minutes. Two and a half out of four stars.

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