Robert Zemeckis's treatment of Beowulf will be unrecognisable to most English graduates who toiled through it as students. The 10th century poem emerges from its Hollywood make-over as a blaring, revisionist epic, featuring a buff frequently nude Viking protagonist and knowing references to bestiality, angst and oral sex. The fact that Beowulf is actually a cartoon - albeit an extremely sophisticated one - only makes matters more interesting. Writers Neil Gaiman and Roger Pulp Fiction Avary have invented a back-story that links the poem's three dramatic encounters while slyly deconstructing the notion of the strong, silent "hero".

The setting is Denmark, circa A. His contemptuous young wife Wealthow Robin Wright Penn actually spits on him. Along comes the wandering hero Beowulf, who aims to slay Grendel, a civic duty he believes is best conducted in the nude. The whole naked-Beowulf-in-battle sequence, which involves strategic placements of pitchers of mead, spears and shoulders to spare us the perhaps paralyzing power of his manhood, is a cinematic feat, seamlessly blending homoeroticism, slapstick and utter foolishness.

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