Ballister "Bal" Blackheart, a would-be knight in a futuristic fantasy realm, is set to join the select battle squad under The Director's (Conroy) command. He is forced to go on the run after being falsely accused of a horrible crime and teams up with the shape-shifting pariah Nimona (Moretz), who wants to be his evil sidekick. Nimona is many things. She’s a rebel. She’s a punk. She’s an instigator, a rabble-rouser, an agent of chaos. She is a shape-shifter and can change into any animal or human you can think of. But above all else, she is a survivor. It's a small wonder that her story is now being screened; Nimona's debut on Netflix follows studio reshuffles, a devastating cancellation, and a miraculous revival. You must not underestimate her. Once upon a time, Blue Sky, the animation studio responsible for the Ice Age series and Spies In Disguise, was developing Nimona from ND Stevenson's fairytale-trope-defying graphic novel. Then, of all things, a mouse managed to bring it down. Nimona was cancelled along with Blue Sky when Disney acquired 20th Century Fox, despite the fact that the movie was supposedly 75% finished. All seems to be lost. In its hour of need, however, a saviour appeared in the form of Annapurna Pictures, who brought the movie back on Netflix (but without the kiss of true love). Nimona proves to be worth the wait in the ultimate happily ever after. From this evidence, it should be clear why Disney decided not to finish the movie. Its satirical subversions of the fairytale formula have a spiritual resemblance to the anarchic outlook of the original Shrek, and they are a direct response to decades of didactic narratives and moral conservatism upheld by much of Disney's back catalogue. The tonal and narrative edge of Nimona feels especially pronounced because it exists in defiance of the tradition of traditional princess stories that have long preceded it. This is true even though Disney itself has made notable advancements towards more progressive storytelling in the likes of the Frozen films, Moana, and especially last year's Strange World. Daring activities are taking on below the surface. But what you'll initially notice is the surface: a lovely fusion of 2D-3D hybrid animation, cel-shaded textures, blocky colours, and geometric facial features. In terms of style, it embodies the film's keen, contemporary vision (and cartoonish sense of humour) while being less radical than Spider-Verse and its ilk. It seems unique from anything else in the current animation scene. The visual gleam is perfectly suited to Nimona's unique world, which is a futuristic take on a high-fantasy realm where brave heroes still wear shiny gold armour (it opens with a dramatic turn at the kingdom's excellently-named "Night To Knight Knights") and the legacy of legendary warrior Gloreth still endures but has over a millennium evolved into a bustling metropolis where neon-lit spaceships soar through the sky. The phrase "one foot in the past, the other stepping boldly forward" perfectly captures Nimona's viewpoint. Ballister Blackheart (a charismatic Riz Ahmed) is caught between tradition and modernity. Though not of noble lineage, he is skillful enough to be a rare outsider permitted into the kingdom's military ranks - until he is falsely accused of a terrible crime. The fact that he is in love with fellow knight Ambrosius Goldenloin (Eugene Lee Yang), a direct descendant of Gloreth herself, is presented matter-of-factly, despite the fact that their relationship encounters significant challenges as the plot moves ahead. Bal, who is on the run and is thought of by everyone as a murderer, is "hired" by the cheeky Nimona; more precisely, she assumes to establish herself as his new sidekick, becoming a pair of "villains" prepared to live by their own rules. Whether coming up with clumsy heist plans ("Chaos, destruction, something-something-something, we win"), executing daring escapes by shape-shifting into multiple creatures in quick succession (a sequence to rival a similarly exciting scene in Dungeons & Dragons: Honour Among Thieves), proving sharks can dance, or using her trademark deadpan catch, Nimona is a blast, voiced exuberantly by Chlo Grace. Her irreverence, twisted humour and punk attitude brings multiple laughs – and even informs the soundtrack, peppered with punky alt-pop picks from Santigold and Metric. (It’s also, notably, the second film in which Moretz kicks ass to the sound of The Banana Splits.) As it races towards a Princess Mononoke-meets-Pacific Rim ending, Nimona, which at times feels a little eager to please, grows more sophisticated and intriguing. It also boasts real narrative twists and ideas about embracing individuality that go beyond the surface. Nimona bemoans the fact that young people "grow up believing that they can be heroes if they drive a sword into the heart of anything different." Her movie makes a conscious decision to alter that story. The Nimona is irrevocable, inexorable, and unrepentant. Some tales just have to be told. Nimona is a revisionist fairytale that forges its own path artistically and narratively to wonderful effect. It is both fervently irreverent and profoundly earnest. Celebrate by performing a shark dance.