Riddle of Fire movie review (2024) | Little White Lies

Rid­dle of Fire review – whim­si­cal and imag­i­na­tive child’s play

07 Jun 2024 / Released: 07 Jun 2024

Three young people, two girls and one boy, sitting on a bench outdoors. The girls have long blonde and dark hair, and the boy has short brown hair. They are holding what appears to be some kind of electronic device.
Three young people, two girls and one boy, sitting on a bench outdoors. The girls have long blonde and dark hair, and the boy has short brown hair. They are holding what appears to be some kind of electronic device.
3

Anticipation.

Went into this totally blind at Cannes 2023.

4

Enjoyment.

What a treat – a delightfully transportive film.

4

In Retrospect.

An all-timer film for kids on screen.

Three pre­co­cious kids set out on a quest for blue­ber­ry pie in West­on Razo­oli’s throw­back adven­ture film.

On a bright summer’s day in rur­al Wyoming, three young tear­aways are up to mis­chief. Call­ing them­selves the Three Immor­tal Rep­tiles, Hazel (Char­lie Stover), younger sib­ling Jodie (Skyler Peters) and their friend Alice (Phoebe Fer­ro) are dirt-bik­ing, paint­balling, bal­a­cla­va-clad chaos gob­lins, who we first meet car­ry­ing out an auda­cious heist to steal a games con­sole from a local ware­house. Return­ing to Hazel and Jodie’s home for a deli­cious feast and day of gam­ing, they’re imme­di­ate­ly foiled by the dis­cov­ery that their moth­er has put a pass­word on the tele­vi­sion. She agrees to lift it for two hours, on the con­di­tion the chil­dren run down to the local bak­ery and retrieve for her a blue­ber­ry pie.

Always game for an adven­ture, the Rep­tiles set off on their bikes – but it turns out the local pie mis­tress has been felled by the same cold that is keep­ing Hazel and Jodie’s moth­er in bed. They’ll sim­ply have to make the pie them­selves, and in the process come up against strange mag­ic and unex­pect­ed allies and ene­mies, as their quest leads them far from home.

Tak­ing cues from the likes of The Goonies and Stand By Me, with a healthy dose of table­top game Dun­geons and Drag­ons thrown in for good mea­sure, West­on Razooli’s fea­ture debut cel­e­brates the imag­i­na­tion and pos­si­bil­i­ty that exists in child­hood, when some­thing as sim­ple as run­ning an errand for a par­ent is ele­vat­ed to myth­i­cal quest sta­tus. Although osten­si­bly set in the mod­ern world, Rid­dle of Fire utilis­es Kodak 16mm to cre­ate a dream­like, hyper-sat­u­rat­ed and vin­tage aes­thet­ic, which works in com­bi­na­tion with a folksy orig­i­nal score to cre­ate a sense of a world out of time. The kids might be keen video gamers and use their smart­phones as spy cams, but they’re scrap­py and tough talk­ing – a sweet­er ver­sion of the kids that inhab­it the films of Har­mo­ny Korine.

There’s a harken­ing back to the type of child­hood that exist­ed before the advent of tech­nol­o­gy, in which kids would bike through the wilder­ness invent­ing their own worlds to occu­py them­selves, but Razo­oli doesn’t seem inter­est­ed in preach­ing that tech is an inher­ent­ly evil thing. The chil­dren actu­al­ly seem to strike a hap­py bal­ance between their inven­tive adven­tures and their near-wor­ship of their pil­fered video game console.

Undoubt­ed­ly the film works because of its three charis­mat­ic young leads, who are pre­co­cious but nev­er tire­some (Skyler Peters, whose dia­logue is some­times sub­ti­tled as he speaks with a very sweet lisp, is the youngest and obvi­ous stand­out, with a seem­ing­ly inher­ent gift for comedic tim­ing). Well-cast too is Lio Tip­ton as Anna Flo­ra Hol­ly­hock, a self-styled witch who the kids cross on their trav­els, but the film real­ly belongs to its young leads – par­tic­u­lar­ly in a dance sequence set to Player’s 1977 ear­worm Baby Come Back.

Scrap­ing in just under two hours, Rid­dle of Fire does feel a lit­tle over­long – the third-act cli­max seems to last for­ev­er – and it’s not dif­fi­cult to imag­ine a short­er edit which would per­haps feel a lit­tle punchi­er and more ener­getic. But this is a minor com­plaint in the face of an aus­pi­cious fea­ture debut for Razo­oli (who also edit­ed the film), which feels like a breath of fresh air in the age of unend­ing adap­ta­tions and IP. Razo­oli clear­ly has ambi­tion and imag­i­na­tion, and this sim­ple but sweet fairy­tale is an exu­ber­ant adven­ture with charm to spare.

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