So, who says that fairy tales and fables are strictly for the toddlers? Certainly not the folks behind this week’s fantasy/satire that’s now at the multiplex. Though it’s not a grand epic like the amazing WILDWOOD, it gets in lots of pointed barbs at societal norms and features a stellar acting ensemble. So what happens when a discarded woman (of a certain age) shakes things up by “hooking up” with a tall, mysterious stranger? Well, a lot, since he’s made entirely of WICKER.

Here’s the standard “setup “. Once upon a time (probably more than 400 years ago) in a tiny village (thinking middle Europe), a woman who sold fish in the market, known only as (‘natch) the Fisherwoman (Olivia Colman), was often ridiculed and dismissed by the village. She was well past the favored marrying age, possessed unconventional features, and smelled of her “trade”. Still, she felt something was missing from her solitary life, and desired a husband, despite the crude wedding traditions (see what they use instead of a ring in the ceremony). Oh, the only merchant in the market who respected her was the eccentric Basket Weaver (Peter Dinklage). One day, he is stunned by her arrival at his home, even more shocked by her request. Handing him several coins, she asks him to “make” her a husband. He agrees and tells her to be ready to be wed at the chapel in a few days. On the morning, the townspeople are stunned by the appearance of a tall, red-bearded, stoic man made entirely of wicker (Alexander Skarsgård). He borrows shoes and a suit, telling them he is to be married. Finally, he walks into the church to meet his surprised and somewhat delighted “blushing bride”. More unconventional than the ceremony is the honeymoon at her home. The passion is so intense and physical that…they break the bed. That is his household “project”, the first of many. As a matter of fact, he dedicates his days to chores (fixing and repairing) and helping her gather fish, and his nights to “making her happy”.When he tells the local men about this, they’re quite angry that he’s not following their ideas of wife/servants. But the women are jealous of the Fisherwoman’s bliss and smiles of “satisfaction”. Will this straight-laced “uptight” village conspire to destroy this very unconventional union? Or can the duo possibly “live happily ever after”?

After her powerful performances in recent dramas, THE FATHER and THE LOST DAUGHTER, some filmgoers might forget that Ms. Coleman is a deft comic actress. Well, let this role be a reminder for us all. She’s the “dark cloud’ in the phony, forced sunshine of this close-minded ‘burg. She pushes back on all the snobbery and disdain thrown her way (and throws ’em right back). Then Coleman hints at the deep longing in the Fishwoman’s regimented life. And when her “order” arrives, Coleman beams with happiness, truly brightening her drab surroundings and neighbors (until they try to squelch it). She has a kindred spirit in the snarky, sneering Basket Weaver, given a dry, sarcastic persona by the terrific Dinklage. Even more than her, he’s looked down upon by nearly everyone, which prompts him to use his caustic wit as a shield and a mace. And then there’s the purity of his creation and the Fishwoman’s always-accommodating lover, the Wicker Husband, given life by the subtle, stoic line readings of Skarsgard. He’s an almost pure, newly hatched soul, taking everything literally, while trying to be pleasant around the very emotional villagers. Their chief agitator is Elizabeth Debicki as the Tailor’s Wife, so compelling as she watches her nemesis living her best life while she is trapped by the local customs and beliefs. She’s a great villainess who still evokes pity. There’s also a delightful supporting performance by the Doctor, who is more interested in his birthday dinner than in tending to a minor wound that becomes needlessly fatal.

Actually, all the actors playing the villagers are great at making the whole “the good ole’ days weren’t that good, really” sensibility soar. Much of the credit for that should go to the gifted directing/screenwriting (from the short story by Ursula Wills) duo of Eleanor Wilson and Alex Huston Fischer (SAVE YOURSELVES!). They establish the sly, satirical mood early on with that bonkers take on weddings and continue skewering the “sweet simple country folk” cliché. They keep the jokes and slapstick zipping along, though not at the expense of the story’s emotional core. It is a love story (unlikely to be sure) so we’re hoping that the lovers are not brought down by outside forces (the results of mistrust nearly doom them). This gives more power to an ending that brings everything “full circle” with a denouncement worthy of the “Twilight Zone” and even the old EC horror comics (and their cousin, Mad magazine). Wilson and Huston make great use of the Budapest locations that riff on the squalor of MONTY PYTHON AND THE HOLY GRAIL (minus the plague). Big kudos to the effects artists, many from Weta, in making this “basket-based” object of desire. And clocking in well under two hours, fans of fables and fabulous actors will enjoy the wickedly romantic comic “strands” woven in WICKER.

3.5 Out of 4

WICKER is now playing in select theatres