A buddy comedy set during medieval Europe during the Black Plague ‘Dragons on the Hill’ follows William (Nathan Hamer) as he sets off to find an old and forgotten doctrine that allegedly would declare the last surviving member of their land lord. Meeting his long lost brother by chance William and Robert (Douglas Zwick) reunite and set forth in search of the doctrine.
Opening on William recounting his past, we learn that he has left his home after the passing of his father, as the plague has devastated his village and he is the last surviving member of his homestead. Meeting Robert, the two reconnect and reunite their fathers locket that had been cleft in twain and shared amongst the two.
With a great chemistry Hamer and Zwick quickly establish a humorous and lighthearted tone to the feature, bickering over little things and trying to get a leg up on each other when discussing the potential lordship over their land. With a slew of great exchanges the two quickly ease the viewer into a familiar and friendly setting, allowing for their journey to be a funny and jovial shared experience.
Crossing paths with a robber soon after, we gain insight into William’s upbringing. His father being a great storyteller has allowed for the two boys to be spared the dark reality of their time, as their father had regaled them with fantastical tales of magic and wondrous beasts roaming the land. Having passed that ability on to William, he finds himself using his storytelling abilities to escape the cruel intentions of the robber, allowing the two to carry on in their quest.
Coming across a fair maiden (Melody Mitchell) the two decide to let her in on the secret of the forgotten doctrine, hoping that one of them could secure her hand in marriage, as the doctrine gives preference to the last married member of their land to become lord.
Carrying on with the cheerful tone, the crew encounter a cast of colorful characters, - a witch doctor, an Italian plague specialist, a persnickety lawyer and a difficult prince. Dealing with each in their own way, the group push along to their destination, the journey enriched by each person they come across.
A key component of the tale, the film revisits William’s penchant for spinning yarn to help the group escape difficult situations, emphasizing the weight we attach to charismatic storytellers and the ease with which we’re willing to suspend disbelief based on those stories.
The film generates momentum and ramps up towards the end of the second act, but seems to falter and become disjointed after the men reach the castle with the archives. Finding out their doctrine does not exist and that Robert is in fact not William’s brother, but rather a tax-evading imposter named Henry, the story becomes too convoluted and chaotic to be enjoyable.
The quick manner with which William forgives Henry and the trial that follows as the two are charged with various crimes seems to want to tie up the film too quickly and does so in too abstract a manner to service an entertaining conclusion to the tale.
With an outstanding original soundtrack and a solid foundation in the relationship between Hamer and Zwick’s William and Robert/Henry, the film manages to deliver an amusing medieval tale of two fools traveling the land. With a few hit and miss supporting characters the film manages to provide for lighthearted entertainment overall. Only let down by the finale of the story, the film delivers a handful of genuine laughs and a fun adventure on a shoestring budget.
Score: 2/4
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