Joey King’in “Prenses” incelemesi

(soldan sağa): Prenses'te Joey King ve Veronica Ngo.

(soldan sağa): Joey King ve Veronica Ngo Prenses.
Bir fotoğraf: 20. yüzyıl stüdyoları

Akıllara durgunluk verecek kadar basit ve tamamen alakasız bir aksiyon filmi. Prenses anlatı düzeyinde, başlık karakterinin amacının güveninden ve netliğinden yoksundur. Uydurma bir maceranın eşlik eden herhangi bir duygusundan bile sıyrılan sonuç, ne balık ne de et olan bir şey – türün çoğu hayranı için çok genel ve onu koruyan genç bir kadın hakkında bu hikayede biraz eğlence arayan gençler için çok şiddetli. Kılıcın ucundaki krallık.

Le-Van Kiet tarafından yönetilen film, hapsedilmiş, kelepçeli bir prensesin (Joey King) peşinden gönderilen birkaç uşakları alt etmesiyle açılıyor. Moira’nın (Olga Kurylenko) yardımıyla kötü niyetli Julius (Dominic Cooper), anne babasını, Kral’ı (Ed Stoppard) ve Kraliçe’yi (Alex Reid) ve 11 yaşındaki çocuğunu kaçırdı. kardeş Violet. (Kathleen Rose Downey), prensesin evliliği kabul etmesini sağlamaya çalışıyor, böylece gücünü güçlendiriyor.

Bir geri dönüş, prensesin Julius’u sunakta aşağılanmış halde bıraktığını ve ayrıca ailesinin müttefiki ve arkadaşı Lin (Veronica Ngo) ile antrenman yaptığını gösterir. Kaçtıktan ve başlangıçta saklandıktan sonra, prenses birçok yağmacı paralı askerle savaşır, hatta bir an için Lin ile takım kurar. Üçüncü perdede, film, Julius’un sadece Violet ile evlenmek için alternatif bir plan hazırladığı, ancak daha geleneksel bir olay örgüsüne geri dönme lehine hızlı bir şekilde bükülmenin daha karanlık etkilerini attığı bir dönüm noktasını tasvir ediyor.

erken işaretler var PrensesBen Lustig ve Jake Thornton tarafından yazılan , büyük vizyonlarını hayata geçirmek için bazı kaynaklardan yoksundur. Bir çekimde, bir grup adam, kapıyı etkili bir şekilde kapatacak olan sözde ağır bir tahta kirişi fırlatmaya çalışırken, eşlik eden ses efekti, içi boş bir masanın üzerindeki gümleme sesi gibi görünüyor. Birkaç sahne sonra, ekrana gelen en kötü CGI yangınını temsil edebilecek bir an var. Aralarında ve sonrasında, toplanmış saldırganların sanki film dublör diyalog seçeneklerini tüketmiş gibi anlamsızca çığlık attığı veya homurdandığı sahneler var.

None of these bits, it should be stressed, are enough, individually or in aggregate, to raise the movie to the status of “interestingly bad.” Rather, they are simply indicators of daily shortfalls, cut corners, and compromises which render the film unsuccessful.

Zooming out from the production itself, it’s somewhat difficult to understand The Princess’ history as a spec script sale, especially since its single most distinguishing characteristic is a total lack of distinguishing characteristics. 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. But the screenplay’s treatment of that aspect is perfunctory; its subject is a headstrong, capable and independent young woman who merely happens to have a younger sibling. There’s no nuance or depth to the relationship between Violet and her sister.

Meanwhile, if Moira initially seems to fall in line with the tradition of witchy, king-whispering second-in-commands secretly pining for or accruing power for themselves, the movie abandons even that trope, instead rendering the character merely a physical enforcer with a slightly more notable weapon of choice (a barbed whip). Even a moment of heavy-handed political messaging in its first 10 minutes (“You have welcomed outsiders—you should have conquered them!,” Julius scolds the King, as the camera cuts away to a small group of pitiable, differently colored refugees) falls away, so allergic is The Princess to any type of specificity.

This leaves viewers with… just a lot of action. Like, lots of action—all of it very familiar, and most of it staged with little imagination. To dwell too much on its largely unmotivated nature could risk coming off as a genre-hater. But it’s worth pointing out that there isn’t really much story here, other than to go “get” the princess—who, again, has already been detained. Does the wedding need to actually take place within a certain time period, or be witnessed by specific parties? Who precisely is mollified by a forced marriage? A viewer never really knows.

The princess, understandably, loathes Julius. But her opposition isn’t rooted in arguments about love or attraction, but women being able to serve as royal heir. Still, what does a “win” look like for the princess, and what is the plan to achieve that, apart from simply killing hundreds of people seeking to help enforce Julius’ wedding wish?

To be clear, if it’s just the latter, that’s fine too. But The Princess never really articulates that seat-of-the-pants survival. It is a series of scenes in search of a story. And in the absence of a more restrictive and rigorously defined setting, which could have hypothetically borrowed part of the appeal of something like The Raid (or at least given the movie a structurally sturdy, video game board-clearing feeling), The Princess basically just serves up a never-ending assembly line of goons who are bad at their job. At one point the princess gets captured, but then escapes, so that the vaguely defined mayhem recommences.

King, who first gained recognition as a child actor in 2010’s Ramona and Beezus, and then proved herself a capable young performer in 2019’s The Act, struggles here to deliver a fully dimensional character. She’s not done many favors with the material, true. But she neither communicates steely, sophisticated resolve, nor credibly delivers as an action heroine. 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.

Overall, The Princess is forgettable—just another number in a library of entertainment assets, the type of thing executives refer to as content or programming on shareholder calls. There is no glory for anyone involved here, nor any enjoyable, diversionary escape for a viewer.

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