The Princess: A Brutal Fairy Tale Without Subtlety

The opening shot of The Princess lingers on Joey King‘s fierce eyes, her gaze burning through the camera as Celtic-inspired flutes trill ominously. This is a fairy tale that refuses to be charming.

Le Van Kiet’s 2022 film is a blunt instrument, a fantasy-action hybrid that eschews subtlety for relentless momentum. The plot is straightforward: King plays a strong-willed princess imprisoned in a remote tower of her father’s castle after refusing to wed the cruel sociopath Julius (Dominic Cooper). With her scorned suitor intent on seizing the throne, the princess must protect her family and save the kingdom. The film’s central conceit—a princess hacking away at an army—is executed with brutal efficiency.

Kiet stages action sequences with visceral impact. One standout scene sees King wielding a makeshift weapon with surprising ferocity as she battles her way through Julius’ mercenaries. The camera work is dynamic, with tight close-ups capturing the grit and determination in King’s performance. These moments of brilliance are underscored by Kiet’s use of sound design, which amplifies the clash of steel and the grunts of exertion, immersing the audience in the fray.

However, these highlights are undermined by structural missteps. Kiet’s decision to intercut between the princess’ rampage and her backstory feels jarring, disrupting the momentum he so carefully builds. The fantasy elements, while visually striking with their Celtic-inspired aesthetics, often feel tacked on, lacking the cohesive world-building that elevates similar films like The Green Knight or Brave. The film’s pacing also suffers from this back-and-forth structure, making it feel more like a series of disjointed vignettes than a cohesive story.

The humor intended to leaven the dark fantasy tone falls flat. Lines delivered by Cooper and King land like lead balloons, failing to elicit laughter or even a smirk. This tonal inconsistency is a significant misstep, as it pulls the audience out of the narrative flow. The film’s pacing also suffers from this back-and-forth structure, making it feel more like a series of disjointed vignettes than a cohesive story.

The performances are a mixed bag. King brings a fierce determination to her role, embodying the princess’ strength and resilience with conviction. However, her character’s emotional beats feel underdeveloped, leaving little room for nuance or depth. Cooper hams it up as the villainous Julius, but his performance lacks nuance, making him more cartoonish than threatening. Olga Kurylenko and Veronica Ngô provide solid support as Moira and Linh, respectively, but their characters are sidelined in favor of the princess’ solo journey.

The film’s originality is its greatest strength and weakness. The gender-flipped fairy tale trope is refreshing, offering a fresh perspective on traditional storytelling. However, Kiet’s execution feels derivative, borrowing heavily from better films like Kill Bill and Brave. The genre fit is solid, with the action and fantasy elements blending well, even if the comedy misfires.

Thematically, The Princess explores themes of female agency and rebellion against oppressive systems. King’s character represents a defiant spirit refusing to conform to societal expectations, a theme that resonates strongly in today’s cultural climate. However, these themes are not explored deeply enough, often overshadowed by the film’s relentless action sequences.

The cinematography is another area where The Princess shines. The use of natural light and earthy tones creates a gritty, realistic atmosphere that contrasts sharply with the fantastical elements. This juxtaposition adds depth to the visual storytelling, making the film’s world feel more tangible. However, the cinematography also suffers from occasional inconsistencies, particularly in the action sequences where rapid cuts and shaky cam can make it difficult to follow the action.

The score is another standout element of The Princess. The Celtic-inspired flutes and strings create a haunting melody that underscores the film’s themes of rebellion and defiance. However, the score also suffers from moments of overuse, particularly in the film’s more emotional beats where it can feel heavy-handed.

The Princess is a film that tries too hard to be everything at once—action, fantasy, comedy—and ends up pleasing no one. It lacks the depth and cohesion of similar films, making it feel more like a missed opportunity than a groundbreaking narrative. While King’s performance is commendable, the film’s structural and tonal issues weigh it down, preventing it from reaching its full potential.

In terms of audience appeal, The Princess will likely find its niche among fans of action-packed fantasy films. Those who enjoy the subversion of traditional fairy tale tropes may also appreciate Kiet’s efforts to redefine the genre. However, viewers looking for a more nuanced exploration of themes or a cohesive narrative may be disappointed.

In the end, The Princess is a flawed but ambitious effort that strives to redefine traditional fairy tales. While it falls short in several areas, its bold ambition and King’s standout performance make it worth watching for fans of the genre.