Coming at us amidst a slew of Hollywood fairytale retellings, Bryan Singer’s “Jack the Giant Slayer” stands as an above average achievement in a mediocre trend. To put it in context, it’s at roughly the same quality as the CGI-extravaganzas that were “Alice in Wonderland” and “Snow White and the Huntsman.” However, it could be argued that it boasts more appealing leads and more effective storytelling than other recent storybook-based blockbusters.
For a kid-friendly fantasy, the cast is surprisingly distinguished and they work admirably to elevate the script. Nicholas Hoult is sympathetic as the earnest and noble farm boy Jack; Ewan McGregor charms as Elmont, the charismatic and self-sacrificing captain of the royal guard; Stanley Tucci is appropriately smug as the king’s power-hungry advisor Roderick who is also engaged to the princess Isabelle; and newcomer Eleanor Tomlinson who does a fine job as the adventure-seeking princess and the only major female character in this beanstalk fest of a film.
The only real weak link is Ewen Bremner as Wicke, an assistant to Roderick. Wicke is a character not unlike Jar Jar Binks in that his role is solely to make confused faces and useless comments in the background in that hope that they will appeal to the sensibilities of tween boys.
But enough about the players, let’s discuss the material they’ve got to work with. In this version of the story, Jack is 18 years old and working on a farm. He’s fond of stories, particularly those about the kingdom of giants that lies between heaven and Earth. Through these stories we learn that, long ago, King Eric forged a crown that gave him control of the giants and allowed him to sever the connections between their realm and Earth.
The giants vowed if they ever returned, their first objective would be to eat any living descendants of his, meaning our heroine Isabelle is threatened. However, this magical crown was buried with him and the stories are now believed to be legend.
The opening of the film succeeds at building up suspense with some serious dramatic rhyme reading by the children’s parents. There should be more ominous rhyming in films. I mean seriously—“The Hobbit’s” trailer with the “Misty Mountains” song, “Game of Thrones” with “Rains of Castamere”— rhyming/extra-slow poetic singing is in right now and I am all for it.
Early in the film, it appears the princess Isabelle is being built up to be a lead character with a journey parallel to Jack’s. This is a nice touch as it is generally male characters that must undertake a journey towards understanding their role as prince/hero/chosen one. Sadly, this promise is never fulfilled. Isabelle gets to wear some snazzy golden armor and ride a horse, but she never really receives the adventure she craves. In the end, despite the attempt to be more progressive by the filmmakers, she’s still a damsel in distress.
Our story really begins when Jack’s uncle asks him to sell their horse in the city of Cloister, the capital of the kingdom (the name is an obvious reference to the “cloistered” life of princess Isabelle). While there, he runs into the princess in disguise at a public play and tries to protect her from some thugs who start accosting her before the royal guards turn up and whisk her away. Later, he acquires the story’s signature magic beans when a monk, attempting to escape with them as part of a plot to usurp the king, hands them over in exchange for Jack’s horse in order to avoid losing them if he’s caught.
Jack returns home empty-handed on a rainy night just as the princess is running away from home due to frustration over her marriage to an older man. And, of course, she turns up at his shack seeking shelter. They begin to bond but are rudely interrupted by the eruption of a giant beanstalk beneath their feet, which lifts the house thousands of feet into the air, snaring Isabelle within it (though Jack manages to escape). Thus, a team consisting of Jack, some royal guards and the scheming Roderick must brave the beanstalk and rescue the princess from the clutches of the giants, motivating the rest of the film’s action.
Overall, “Jack the Giant Slayer” is a good but unmemorable film with decent effects, some strong acting, and a traditional good versus evil plotline. Its existence never feels quite justified, but I’d defend it on the basis that it will likely bring joy to many children. In my own showing I heard the adorable statement, “that movie was really good mom, when can we see it again?” from a young boy. So as nitpicky as critics can be, I can’t begrudge this film too much for being as by the numbers as it is, as long as its getting that sort of reaction. But for college students, I’d say don’t make any trips to the theater too soon, unless it’s to check out the Oscar nominees.
