The Princess

Director Le-Van Kiet delivers a forgettable film whose single distinguishing characteristic is a total lack of distinguishing characteristics.

The movie instead relies on editing and manipulated frames-per-second sleight-of-hand (never quite slow-motion, never quite hyperkinetic) to sell its physical confrontations. The tale of a princess called or pushed to action in defense of her younger sister might be interesting, and even carry with it some additionally heightened emotional punching power in a post-Roe world. There are signs early on that The Princess, written by Ben Lustig and Jake Thornton, lacks some of the resources to bring their grand vision to life. A yawningly simplistic and roundly inconsequential action movie, The Princess lacks, on a narrative level, the certitude and clarity of purpose of its title character. After she escapes and initially hides, the princess fights a lot of marauding mercenaries, even teaming up with Linh for a moment. Flashbacks show the princess leaving Julius humiliated at the altar, and also training with Linh (Veronica Ngô), an ally and friend of her parents.

Joey King stars as fantasy-adventure royalty so fun in combat she rises above the hyper-simplicities of her fight. NOW STREAMING: ...

And don’t forget the principal duo of King’s Princess and her mentor Linh ( Veronica Ngo, steely and formidable). For the latter, Linh is a great follow up after her turn as Da 5 Bloods’ Hanoi Hannah; not only does she get to flaunt more of her dramatic chops in English (on top of literal chops), she’s also the answer to why The Princess is the person she is right now. What spares the film from diminishing returns is director Le-Van Kiet’s deft command of action; as seen in his 2019 Vovinam-driven Hai Phượng (Furie), he understands that the genre works because of how bodies in the frame can move, more than how often the editor can zip to different angles. This structure, which plants milestones in each fighting arena, is very video game-like in design, complementary to the “vessel for action” formula of John Wick and xXx (of which executive producers Derek Kolstad and Neal H. Moritz were respectively a part). As a result, the film won’t tax you much, if at all, on The Princess’ path to becoming a skillful butt-kicker. Sometimes the geography changes drastically, for The Princess shall Ghost Protocol her way to a window or Villainess herself to another floor. Much like the real world, The Princess’ lilac-hued fantasy kingdom, which doesn’t elaborate on its whereabouts (despite hints of bagpipes, hurdy-gurdys and kattajaq in composer Natalie Holt’s rousing score), a woman’s words and pleas are destined for deaf ears.

Its fairy-tale tropes could make it look like a Disney film from a distance — and the fact that Disney acquired it, and is releasing it on Disney Plus outside ...

Both of those characters are worlds more nuanced and interesting than the headstrong princess who doesn’t want an arranged marriage, but they’re relegated to background roles. Why does he need the princess to marry him, when he has the power to just seize the throne? It’s intrinsically satisfying to see a fantasy princess in a ripped, bloody wedding dress, stabbing the men who seek to control her. She doesn’t hesitate to plunge her sword into her assailants, and she doesn’t mull over whether killing makes her just as bad as her captors. As revenge, Julius captured the royal family and locked the princess in the tower to force her to marry him so he can take over the throne. But it’s actually a 20th Century Studios title, an R-rated killer-combat film that lets the unnamed princess at its center do serious, bloody damage.

This week sees the premiere of The Princess, the “Rapunzel meets The Raid” action film starring Joey King on Hulu, as well as the streaming premiere of ...

On a moral level, however — and this is very much a morality play in the guise of a contained, pressure-cooker thriller — it’s about weighing your responsibility to yourself and your family against your responsibility to society. The film follow three distinct eras of Jane’s life as an unexpected turn of events sets her on a journey to become a writer. Re-edited for television in the 1960s by Roger Corman, and infamously riffed on in an episode of Mystery Science Theater 3000, this new version of the original film has been restored in 4K from the original 35mm negative. Akin to Edgar Wright’s 2013 film The World’s End, Blasted appears to tackle similar subject matter with regard to its themes of lifelong friendship, maturity, and arrested development. This is certainly Edgar Wright at his Edgar Wright-iest, but even as he’s arguing against celebrating the past in Last Night in Soho, he’s celebrating it himself, in ways that are hard to escape, and at times, harder still to enjoy. Joey King (The Kissing Booth) stars in Le-Van Kiet’s “Rapunzel meets The Raid” action movie as a strong-willed princess who, after refusing to marry the cruel suitor to whom she is betrothed, is abducted and locked away in a remote tower of her father’s castle.

Joey King is credible and compelling as a vengeful would-be princess bride in this over-the-top action fantasy tale.

Long takes highlight both King’s gumption (as when she somersaults back and forth over a card table to dispatch a trio of goons) and the admirably creative fight choreography by Stanimir Stamatov and Samuel Kefi Abrikh, which emphasizes quick-thinking defensive moves that make use of found objects — hairpins, pearls, heads of lettuce — to parry swords, axes, chains, whips and helmets with sharp horns. Her highness must fight her way downstairs to defeat her naysayer, including a tyrannical fiancé (Dominic Cooper), his cruel consort (Olga Kurylenko) and the princess’s own father (Ed Stoppard), a hapless weakling who believes he can combat fascism with calm and sensible reason. Clearly, the classic genre that galvanizes Kiet and the screenwriters Ben Lustig and Jake Thornton doesn’t hark back to ye olde European fairy tales but rather to the feminist revenge thrillers of the 1970s: works of exploitation and wuxia cinema where warrior women stuck it to the man.

Bloody Hulu original "The Princess" rejects the idea that medieval heroines need a man to rescue them, kicking back at the Disney formula.

By the end of the first scene, King’s as bloody as Bruce Willis was in “Die Hard,” which is this by-no-means-dainty movie’s way of saying that she sustains damage but doesn’t let that slow her down. But now that his kingdom has been invaded by the brutal Lord Julius (a dastardly Dominic Cooper) and whip-wielding right-hand woman Moira (Kurylenko), he will be glad the princess took “Atomic Blonde” lessons instead, learning how to dispatch a stairway full of goons in a single take. She’s kicking back at the entire medieval patriarchy, such that the movie’s idea of a happy ending isn’t a royal wedding but a gigantic funeral. A smarter script would’ve found ways to work a historical critique (or some “Shrek”-like satire, at least) into its relatively brainless string of set-pieces. Played by “The Kissing Booth” star Joey King as an anything-but-passive heroine, the movie’s anonymous eponymous protagonist isn’t a proper character so much as a one-dimensional empowerment symbol: “The Princess” represents the antithesis of every fairy-tale damsel who sat around waiting to be whisked away or married off. The rickety old Brit could barely throw a punch, and half the time, when Moore was supposed to be sky jumping or skiing, he was clearly pantomiming against a rear-projection screen.

The Princess is a violent, energetic remix of traditional 'princess needing rescued' tropes, led by a talented Joey King who believably kicks all sorts of ...

The constant high frequency combat really works, an aggressive action outing with a strong female protagonist plowing through a host of baddies with fists, feet, and steel. The Princess is awoken by violence and gets into the action quickly. The film’s actual combat has a strong frenetic energy, as our protagonist has to fight her way down through a variety of challenges to save her kingdom and free her family. The thing about the Princess, however, is that she’s been trained by Linh (Veronica Ngo) to be a hardened warrior, and the Princess spends the duration of the film... It’s simple, and there really is no Act I with a simple introduction to the characters and their situation. Its plot is a little thin, there’s little in its runtime that isn’t action, but if it’s an action-heavy trope remixer you’re looking for (and it should be) this is exactly the film you need.

This review of the Hulu film The Princess (2022) does not contain spoilers. Joey King is a young actress with a built-in audience, and for the most part,

(Like most of these films that lock away women, they make sure to lock her away with only the best views the kingdom has to offer). From there, it is a chase to escape the clutches of the evil heir and save her family. This is a function of the writing that I like to classify as a videogame script. With the approval of her mother, the Queen (Alex Reid), the Princess refuses to marry Julius, which causes him to lock her at the top of the remote tower. Her trainer is Linh (Ngô Thanh Vân), who teaches her how to fight with a sword and her mind. King plays The Princess, an unbreakable young woman who is trying desperately to fall hardbitten to male toxicity. Her hair is matted, she is sweaty and bleeding, and according to a simple Google search, she did 85% to 90% of her stunts.

This dumb elevator pitch gag of a Hulu movie — starring Joey King and Dominic Cooper — has the aura of an intrusive thought.

Or, in the case of The Princess, it can be turned into an affirmation of the current order, which is apparently perfectly fine aside from the need for a lady royal atop the throne of whatever theme park monarchy the movie’s barely managed to come up with. The Princess would clearly like to be seen in the bruising recent tradition of David Leitch-adjacent movies like the John Wicks, Atomic Blonde, and Nobody, but is more slapdash in its construction, striving for longer takes while pulling its punches in combat. Our attachment to this increasingly vague concept, fueled heavily by Disney’s branding and the eternal appeal of a flouncy frock, has landed us in the empowerment dead-end of The Princess, whose main character attempts to prove that women are just as deserving as men when it comes to inheriting power due entirely to the circumstances of their birth.