logo
Mythica: Stormbound review – new chunk of swords and sorcery tale ripe for avid franchise audience

Mythica: Stormbound review – new chunk of swords and sorcery tale ripe for avid franchise audience

The Guardian09-06-2025
This low-budget but reasonably competent swords and sorcery yarn is the sixth instalment in a series of Mythica films that goes back to 2014. It seems they were first bankrolled partly by crowdfunding, and then presumably kept going by the production's low overheads and straight-to-retail distribution to an audience that clearly grooves to quasi-Tolkienian, Dungeons and Dragons-style quests featuring a motley band (there is usually an elf or dwarf). If you like your necromancy tales spiked with huge chunks of nattering as the characters endeavour to bulk out the running time with lots of banter and exposition, this may be just the ticket. Don't worry too much about not having seen the other five films because this is reasonably watchable, especially as so much time is devoted to filling newbies in on the backstory via dialogue and voiceover.
In any case, this is a bit of reboot with the meagre plot unfolding about 15 years after events in the last film. The ensemble is made of up all-new characters who allude to such figures as Marek the slave girl-cum-magician who led the franchise earlier. This go-round, our protagonist is The Stranger (Will Kemp), known just as Stranger to his friends; he is an apothecary/bounty hunter (clearly in this medieval economy everyone has two or three jobs) travelling with a mysterious cargo in his wagon. Stranger finds Erid (Nate Morley), an injured young man, on the road and brings him to an inn run by Irish-accented dwarf Giblock (Joe Abraham). The inn just happens to be where Erid had been living as a one of Giblock's slaves along with comely Arlin (Ryann Bailey), but Erid recently got caught up in a catastrophe when the local witch, who goes by the delightful moniker Mahitable Crow (Barta Heiner), murdered everyone in the nearby village, making Erid the sole survivor.
As a terrible storm is raging outside, other travellers keep fetching up at the inn, including a loudmouth local marshal and his elven sidekick, a hulking hunter, a mysterious vampy woman, and so on. It's like The Hateful Eight but with slightly less ponderous dialogue and crisper editing. The nocturnal time-frame means the darkness can disguise the shonkiness of the visual effects during the sequence when a human character turns into a CGI bear. In the final scenes – in daytime – the purple smoke and CGI lightning looks even cheaper and shonkier, which is in its way sort of endearing. But credit is due to the cast and director Jake Stormoen (who played a character in the earlier films) for serving this up with a surprisingly persuasive gravity and straight faces. You can tell it comes from a place of respect for the franchise's audience.
Mythica: Stormbound is on digital platforms from 16 June
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

BBC ‘not institutionally antisemitic', editor says after row over Gaza coverage
BBC ‘not institutionally antisemitic', editor says after row over Gaza coverage

The Independent

time7 minutes ago

  • The Independent

BBC ‘not institutionally antisemitic', editor says after row over Gaza coverage

The BBC is 'not institutionally antisemitic', a newspaper editor has said following a row over the broadcaster's coverage of the conflict in Gaza. James Harding, The Observer 's editor-in-chief said the perception of a 'political presence looming over the BBC' is a problem and the broadcaster needs to be 'beyond the reach of politicians'. The BBC has been criticised for a number of incidents in recent months which include breaching its own accuracy editorial guidelines and livestreaming the Bob Vylan Glastonbury set, where there were chants of 'Death, death to the IDF (Israel Defence Forces)'. Following the incident, UK Culture Secretary Lisa Nandy said ministers expect 'accountability at the highest levels' for the BBC's decision to screen the performance. Mr Harding discussed the difficulties of covering the Gaza conflict when he delivered this year's James MacTaggart Memorial Lecture at the Edinburgh TV Festival on Wednesday. He described how 'newsrooms are in a furious argument with ourselves over the coverage of Israel and Gaza', with the situation 'very hard to view dispassionately'. The Observer chief said this is true for all media organisations, particularly the BBC, and it is 'about as difficult as it gets in news'. Mr Harding said: 'This summer, Lisa Nandy has weighed in.' He said the Culture Secretary's office insists she did not explicitly ask Samir Shah, the BBC chairman, to 'deliver up' director-general Tim Davie 's resignation following the Bob Vylan incident, but 'people inside the BBC were left in no doubt that was the message'. Mr Harding said: 'The place became paranoid about how the BBC itself would cover the story; people around him thought the political pressure would be too much. 'Whatever your view of the hate speech vs freedom of speech issues, an overbearing government minister doesn't help anyone. 'The hiring and firing of the editor-in-chief of the country's leading newsroom and cultural organisation should not be the job of a politician. It's chilling. 'Political interference – and the perception of a political presence looming over the BBC – is a problem, one that we've got too accustomed to. 'It looks likely to get worse. We need to get on with putting the country's most important editorial and creative organisation beyond the reach of politicians now.' The broadcaster is also facing an Ofcom investigation into its documentary Gaza: How To Survive A Warzone after a review found it had breached the corporation's editorial guidelines on accuracy. The programme was removed from BBC iPlayer in February after it emerged the child narrator, Abdullah, is the son of Ayman Alyazouri, who has worked as Hamas's deputy minister of agriculture. Mr Harding said the BBC is not antisemitic. 'I am Jewish, proudly so,' he said. 'I'm proud, too, to have worked for the most important news organisation in the world. 'The BBC is not institutionally antisemitic. It's untrue to say it is. 'It's also unhelpful – much better to correct the mistakes and address the judgment calls that have been wrong, than smear the institution, impugn the character of all the people who work there and, potentially, undermine journalists in the field working in the most difficult and dangerous of conditions.' The UK Government and the BBC have been asked for comment. Mr Harding is co-founder of Tortoise Media, which acquired broadsheet newspaper The Observer in April. Before he co-founded Tortoise Media, Mr Harding was editor of The Times from 2007 to 2012 and was in charge of the BBC's news and current affairs programming from 2013 up until the beginning of 2018. He also co-presented On Background on the BBC World Service and wrote the book Alpha Dogs: How Political Spin Became A Global Business. A spokesperson for the Department of Digital, Culture, Media and Sport said: 'The Culture Secretary has been repeatedly clear that the role of the director-general is a matter for the BBC board. Any suggestion to the contrary is untrue. 'The BBC has itself acknowledged a number of serious failings in recent months, including the broadcasting of the Bob Vylan set at Glastonbury. 'It is entirely right that the Culture Secretary raised these issues with the BBC leadership on behalf of licence fee payers.'

90s reality reboot cancelled after just one series as Channel 5 boss calls axe ‘a disaster'
90s reality reboot cancelled after just one series as Channel 5 boss calls axe ‘a disaster'

The Sun

time7 minutes ago

  • The Sun

90s reality reboot cancelled after just one series as Channel 5 boss calls axe ‘a disaster'

CHANNEL 5 has confirmed another major reboot has been axed from their line-up – calling the failure a 'disaster'. Ben Frow, 5's Chief Content Officer, announced two major cancellations today as part of Edinburgh's TV Festival. 5 5 5 Alongside Challenge Anneka – which was pulled from the schedule with one episode never airing – Frow confirmed that Faking It has also been culled. Speaking on the decision, he said: "I think it was a disaster [the show] didn't work, because it was brilliantly made." Faking It originally existed from Channel 4 from 2000 to 2006, and followed people trying to learn a brand new career path in the space of four weeks. With the help of an expert in the field, the participant was then tested by competing with trained people in that skill at the end - with a panel having to figure out who was 'faking it' and who was legitimate. The series was rebooted by Channel 5 last year with three episodes, but it's now confirmed to not be renewed. Running from May to June, the three episodes saw a fish fryer learn to be a sushi chef, an estate agent become a market trader, and a painter-decorator learn to be a make-up artist. The series came under fire by unimpressed viewers, who labelled the show a "fix" after its first episode on air in 19 years. Showing Surrey luxury estate agent Rex swap properties for northern street markets, with the help of newly-announced Strictly star and wheeler dealer Tom Skinner. As part of the ruse, Rex had to adopt a northern accent and tackle gruelling 10-hour shifts, but managed to convince the market traders he had to fool. The show suffered flailing ratings and couldn't grab an audience enough to keep it on air. The first episode failed to get into the Top 50 shows airing that week, according to ratings monitor BARB, with several episodes of The Chase and BBC News topping it. The announcement came alongside the axe of Challenge Anneka, the reboot of the 80s series starring Anneka Rice working on charitable projects by recruiting local companies. During his appearance at Edinburgh TV Fest, Frow admitted the channel had started the year on a difficult note, but stated it was a "tough time for linear television" in general. 5 5

My night at the extraordinary Tuscan home of a Renaissance artist
My night at the extraordinary Tuscan home of a Renaissance artist

Times

timean hour ago

  • Times

My night at the extraordinary Tuscan home of a Renaissance artist

It is a roasting summer day in Florence. Down in the basin of the Arno, steam seems to rise from the baking streets and sweat pours from pores hitherto unknown. I sigh: what hell people put themselves through to see the Duomo. I, too, can see the Duomo, but I'm not down there. I'm up in the hills, wringing out my hair — not with sweat, but from a swim. I text a friend, Daniela, who lives in Florence. Come here after work! There's a breeze! It's a centuries-old routine for Florentines: when the heat hits, decamp to the hills. About 500 years ago the owner of this villa was probably sending a similar message to his city friend. His name was Ridolfo Ghirlandaio; his friend, Raphael. In the 15th and 16th centuries, the Ghirlandaio family — paterfamilias Domenico, his brothers David and Benedetto, and his son, Ridolfo, ran one of the foremost artist workshops in Florence. Domenico was a big beast of the Renaissance: Botticelli was his rival, Michelangelo his apprentice; Da Vinci, it's thought, studied Domenico's Last Supper before creating his own. The family — whose real name was Bigordi, but took Ghirlandaio from the crown-like women's garlands (ghirlande) that had made Domenico's father wealthy — became an artistic dynasty. Ridolfo was mates with Raphael, who invited him to Rome to work for the Pope. Ridolfo refused, wrote Giorgio Vasari, the Renaissance painter and art historian — he couldn't relinquish his view of the Duomo. I can see why. The Ghirlandaios' workshop was in Florence, but their hearts were at Colle Ramole, in the olive-strewn hills four and a half miles southeast, the city unfurling below around Brunelleschi's soaring terracotta dome. It became their haven — a villa and estate, with a furnace to smelt the tesserae for Domenico and David's mosaic of the Annunciation above the Duomo's side door. When Domenico died at 45, Ridolfo took over. He frescoed their family chapel: the Virgin and Child above the altar with two saints. Above them: two rainbow-winged putti. On either side, portraits of the family: Ridolfo and his son, his wife holding a baby, and his late dad, immortalised in ruddy middle-aged eternity. It's the only self-portrait by a Renaissance artist in their home, murmurs Marco Cecchi as we come face to face with Ridolfo, who stares us down — what are you doing in my house? Sure, Raphael is said to have painted the Virgin and Child on his teenage bedroom wall in Urbino; Sofonisba Anguissola's portrait of her father and siblings hung in her Cremona home, according to Vasari. But a selfie, in situ? This might be the only one. • Discover our full guide to Italy Cecchi, who grew up one hill away, is the guardian of this great patrimony. In 2010 his family bought the crumbling estate. They planned to turn it into flats, but decided that would ruin the history. 'I didn't [initially] realise how important this was,' he says of the house's heritage. 'I consider myself lucky to be the custodian, but see the real danger if it had gone to someone else.' So they pivoted, restoring the villa, converting the five outhouses into cottages, and renting it out as Dimora (home of) Ghirlandaio in 2018. At first they rented it for exclusive use only. Six houses, up to 40 people — the prices were stratospheric enough that Cecchi won't share them. Staff whisper of tech billionaires à deux, and American lawyers private-jetting their way over to play dolce vita for their birthdays. The cradle of the Renaissance had become a party pad for modern-day Gatsbys. Until now. This summer the estate has been broken up, so you can rent a single villa at Dimora Ghirlandaio for a single night. Instead of tens of thousands to get through the gate, you can now stump up £520 for the Limonaia suite overlooking the Renaissance-style lawn. Cecchi amiably admits it's to fill up slow periods — those filthy-rich Americans prefer June, July, September and October. But I — one of the first plebs through its doors — like to think of it as reclaiming the space for ordinary people. The idea is to keep some dates restricted for buyouts, open others for single bookings, and offer last-minute breaks where available. Right now there's availability throughout August and November, plus pockets in September and October. It'll be a steep learning curve, not least for the guests, unaccustomed to such luxury. I merrily went swimming in what I thought was a pool, only to be gently told it was a water feature. Of course it was — the real pool was unmistakable. A long, infinity edge melted into the estate's endless olive groves, fringed by lavender and jasmine (the grounds are an open-air perfumery). Two orange trees sprout from the centre — a nice way to split the kids' side from the adult depths, I thought, until Cecchi explained that they were there to recall Domenico's famous Cenacolo, or Last Supper fresco, in Florence's Ognissanti church. That's the joy of Dimora Ghirlandaio. Of course, it's gorgeous — but then, plenty of Tuscan villas are. Sure, it's extra-cushy — it's been designed to please billionaires, after all. But it's the history that makes this special. Cecchi has turned the estate into a homage to the family. Each of the five rooms in the main villa, where I stay — wondering if mine, overlooking the Duomo, was where Domenico once slept — is named after a brother; in another, they sport the names of pigments the family used. The walls are painted in soft mints, greys, peaches and pinky-reds — colours that Ridolfo used in the chapel. The floors are terracotta, fired at nearby Impruneta (just like the Duomo), while the fireplaces are in pietra serena, the stone that lines the Uffizi porticoes. Above the gate is the Bigordi coat of arms: three spheres, not unlike that of Domenico's friend Lorenzo de' Medici. My favourite (and the cheapest) cottage, the two-bedroom La Bottega, is supposedly the site of the family workshop. Today there's a desk overlooking the Duomo — just as inspiring 500 years on. The other villas have been crafted from stables and outbuildings. There are original fittings galore — chunky beams, a two-bull yoke — and all except La Limonaia have a strip of private garden. • 28 of the best villas in Tuscany The estate used to be self-sufficient — the Bigordis produced wine, oil and cereals — and it still is, in the sense that there's no need to leave the property. Daniela comes up for aperitivo, the sky turning a Ridolfo-esque pink behind the Duomo, church bells chiming in the distance. Dinner is in the greenhouse-like restaurant, or overlooking the olives. You can do painting classes, wine tastings, cooking classes. We taste the estate's olive oil with farm manager Clemente Pellegrini Strozzi — a descendant of another Renaissance dynasty, and a man so passionate about olive oil ('It's like making a painting') that he talks to his trees. The more I learn about the Ghirlandaio family, the more I covet their art. Dimora offers a Ghirlandaio tour of Florence — Domenico's frescoes in Santa Maria Novella, Ognissanti and Santa Trinita — but I want to see the family's works in the landscape in which they lived. Each villa has a book about the history of Colle Ramole, which also lists the locations of every nearby work. That was my Sunday settled. At the Abbazia dei Santi Salvatore e Lorenzo in Badia a Settimo, just over nine miles away, Domenico's Annunciation — two roundels over the main arch — powers me through Mass ( In the sacristy afterwards, a priest silently flicks the lights onto a Nativity and Deposition — the grass beneath the cross is as fluffy as Dimora's lawn. In San Donnino, once an Arno-side village, now a suburb of Florence, is the church of San Andrea and two frescoes: Domenico's delicate Madonna and Child with two deliciously camp saints, and the Baptism of Christ, thought to be by his brother, David, as it's not quite as good (sorry David). The churchwarden, Lorenza, ushers me into an adjoining wing. It's the Museo d'Arte Sacra di San Donnino, a collection of Renaissance art that tells the story of the flood-prone village — most of these paintings were irreparably damaged in 1966. A St Roch by the Ghirlandaios looks desultory, his robes melted clean away by floodwater. Lorenza needs to go — it's Sunday lunchtime — but gives me her number, promising to open up again if I return. You wouldn't get that in Florence (free; At Badia a Passignano, 15 miles south, six Benedictine monks still live in the monastery where David and Domenico frescoed a Last Supper in 1476. The superior, Jinsho Kuriakose, takes us on a tour (by donation; Past three swashbuckling archangels painted by Ridolfo's protégé, Michele Tosini, we head to the refectory. This was the scene of a battle of wills, says Father Jinsho. David complained to the monks that they weren't feeding them enough; when the abbot refused to give them more, the brothers downed tools and left, making sure the fresco looked decent enough for the oblivious monks to pay them in full. I imagine them flouncing back to Colle Ramole as I drive back past an Antinori vineyard. I see that same hauteur in Ridolfo's face the next morning, when I bid him farewell ('Is he glaring at us or smiling?' Strozzi had asked when we'd popped in post-oil tasting). He's inscrutable: longish hair bobbed, Tuscan nose, eyes boring into my soul, while Domenico stares from above, lip imperceptibly curled. This is our house, they seem to whisper. And it always will be, I want to reply — but I'm delighted that Cecchi has brought you back to life. This article contains affiliate links that will earn us revenue Julia Buckley was a guest of Dimora Ghirlandaio, which has B&B doubles from £520 or villas from £781 ( The chapel can be viewed on request. Fly to Florence

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store