Tale as old as time, song as old as rhyme, Olivia Colman and a basket.
That’s the long and short of “Wicker,” a dark and strange storybook movie that had its world premiere at the Sundance Film Festival.
Weirder still — it’s absolutely wonderful.
Colman, fitting her mangy part like a smudged glass slipper, plays the smelly, outcast Fisherwoman of a medieval village who pays a mysterious magical craftsman (Peter Dinklage) in the forest to weave her a husband.
Tale as old as time, song as old as rhyme, Olivia Colman and a basket.
That’s the long and short of “Wicker,” a dark and strange storybook movie that had its world premiere at the Sundance Film Festival.
Weirder still — it’s absolutely wonderful.
Colman, fitting her mangy part like a smudged glass slipper, plays the smelly, outcast Fisherwoman of a medieval village who pays a mysterious magical craftsman (Peter Dinklage) in the forest to weave her a husband.
He’s a kind of enchanted Etsy.
The Fisherwoman — all names are job titles — had been proudly single, dirty and disdainful of her community’s backwards rituals, like women being collared on their wedding day. All of this shtick is “bring out your dead!” dryly humorous.
Still, everybody else seems to have a masculine plus one. And off in her faraway hut, Fisherwoman has been feeling the harsh sting of loneliness.
One month later, the she finally gets her “man”: A soft-spoken Alexander Skarsgård outfitted with a masterful mug and body of entwined reeds created by Weta Workshop, the effects artists behind “Lord of the Rings,” “Dune” and “Avatar.
