Duration: 115 mins. This computer-animated film using motion-capture technology was a major studio production, with an all-star cast and an accomplished director and writers. Grendel and his mother speak a few lines of neo-Old English.

Neil Gaiman and Roger Avary, Beowulf: The Script Book (New York: HarperEntertainment, 2007) contains a great deal of information from the two screenwriters about the film's early development and eventual production.

• Stewart Brookes, “From Anglo-Saxon to Angelina: Adapting Beowulf for Film,” in Medieval Afterlives in Contemporary Culture, ed. Gail Ashton (London: Bloomsbury Academic, 2015), 81–92, at 81 and 89–91.

• Kathleen Forni, Beowulf's Popular Afterlife in Literature, Comic Books, and Film (New York: Routledge, 2018), chap. 6.

• Nickolas Haydock, “Conclusion: The Postmodern Beowulf,” in Beowulf on Film: Adaptations and Variations, by Nickolas Haydock and E. L. Risden (Jefferson, NC: McFarland, 2013), 177–89, at 179–84.

• Nickolas Haydock, “Making Sacrifices,” in Beowulf on Film: Adaptations and Variations, by Nickolas Haydock and E. L. Risden (Jefferson, NC: McFarland, 2013), 81–118, at 87, 91, 97–98, and 113.

• Nickolas Haydock, “Meat Puzzles: Beowulf and the Horror Film,” in Beowulf on Film: Adaptations and Variations, by Nickolas Haydock and E. L. Risden (Jefferson, NC: McFarland, 2013), 143–66, at 143, 145, 146, 158, and 161–66.

• Andrew Higson, “‘Medievalism,’ the Period Film, and the British Past in Contemporary Cinema,” in Medieval Film, ed. Anke Bernau and Bettina Bildhauer (Manchester: Manchester University Press, 2009), 203–24, at 203 and 211.

• Philipp Hinz and Margitta Rouse, “Adaptation as Hyperreality: the (A)Historicism of Trauma in Robert Zemeckis’s Beowulf,” in The Medieval Motion Picture: The Politics of Adaptation, ed. Andrew James Johnston, Margitta Rouse, and Philipp Hinz (New York: Palgrave Macmillan, 2014), 129–53.

• Chris Jones, “From Heorot to Hollywood: Beowulf in Its Third Millennium,” in Anglo-Saxon Culture and the Modern Imagination, ed. David Clark and Nicholas Perkins (Cambridge: D. S. Brewer, 2010), 13–29.

• Darcy Mullen, “Beowulf and Aesthetic Nervousness: A Multidimensional Pedagogy,” in Lessons in Disability: Essays on Teaching with Young Adult Literature, ed. Jacob Stratman (Jefferson, NC: McFarland, 2015), 149–76, at 166–69.

• E. L. Risden, “The Cinematic Commoditization of Beowulf: The Serial Fetishizing of a Hero,” in Beowulf on Film: Adaptations and Variations, by Nickolas Haydock and E. L. Risden (Jefferson, NC: McFarland, 2013), 66-80, at 71, 73, and 77–79.

• E. L. Risden, “The Hero, the Mad Male Id, and a Feminist Beowulf: The Sexualizing of an Epic,” in Beowulf on Film: Adaptations and Variations, by Nickolas Haydock and E. L. Risden (Jefferson, NC: McFarland, 2013), 119–31, at 119–20 and 122–24.

• E. L. Risden, “O Dragon, Where Art Thou? ‘Othering’ in Beowulf Films,” in Beowulf on Film: Adaptations and Variations, by Nickolas Haydock and E. L. Risden (Jefferson, NC: McFarland, 2013), 132–42, at 139–40.

• E. L. Risden, “Our Man Beowulf: Bowra, Ker, and the Contemporary Struggle with Cinematic Heroism,” in Beowulf on Film: Adaptations and Variations, by Nickolas Haydock and E. L. Risden (Jefferson, NC: McFarland, 2013), 167–76, at 175.

BAM.