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‘The Princess’: Film Review
A young royal must escape from her power-hungry betrothed and save her family and kingdom in this Hulu film starring Joey King.

‘The Princess’: Film Review

(L-R): Veronica Ngo and Joey King in 20th Century Studios’ THE PRINCESS, exclusively on Hulu. Courtesy of 20th Century Studios

In a recent interview about The Princess, Ben Lustig and Jake Thornton, the film’s screenwriters, explain how they came up with the idea for their project. The duo wanted to turn convention on its head, to dream up a story in which a princess defies society’s expectations of her. Lustig, a father, comes off especially keen to insist on this film’s novelty in the brief conversation: “I was like, ‘Okay, here’s all these princess movies. But what if one was a badass?’”

It seems Mulan, Jasmine, Pocahontas, Tiana and most recently Merida don’t count. Maybe they’re not tough and outspoken enough. Maybe their adventures don’t have enough action sequences. Perhaps these young women needed to be more uncompromising, intimidating. Or maybe the lessons their stories teach needed to be more obvious, repeatedly telegraphed and so blunt that watching the film becomes a test of endurance instead of entertainment — kind of like The Princess.

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The Princess

The Bottom LineMore conventional than it appears.

Release date: Friday, July 1 (Hulu)
Cast: Joey King, Dominic Cooper, Olga Kurylenko, Veronica Ngo
Director: Le-Van Kiet
Screenwriters: Ben Lustig, Jake Thornton

1 hour 34 minutes

Directed by Le-Van Kiet and written by Lustig and Thornton, the Hulu film reflects society’s depressing approach to inspiring young people to value women. The Princess seems to equate being a badass with vengeance and restoring old orders (but this time with a woman in charge). Other principles make cameos — intelligence as measured by one’s ability to imagine, a secure sense of ethics and a commitment to community — but they don’t get as much attention as the bloody duels.

It’s a shame, because the protagonist played assuredly by Joey King (The Kissing Booth, The Act) seems like an interesting person. We meet her early in the morning, just at the moment she wakes up to find herself trapped in the tower of her father’s kingdom. She’s wearing a white wedding dress and her hands are chained together. How did she get here? What’s going on?

Before the Princess can properly assess her situation, she must defend herself from a pair of guards sent to check in on her. A gory fight sequence plays out as the Princess — clever and light on her feet — jumps, kicks and glides across the room. Although the situation seems touch-and-go for a moment, she defeats her opponents. Now she has to figure out how she ended up in this situation.

The Princess is a straightforward narrative, with an impressively tight timeframe — it takes place over one day in one area of the kingdom — and action sequences. These constraints are a boon to the film; action-seeking viewers can enjoy watching our protagonist sharpen her skills and outmaneuver her opponents. Kiet stages the fight scenes to maximize their impact — we see the Princess punch and hurl objects from different angles, showcasing her physical grace and intelligence. The Princess is a Disneyfied Arya Stark.

The actual plot is less interesting. As she slinks through the tower, which has been seized by the man she refused to marry, she pieces together what’s happening. Her betrothed, Julius (Dominic Cooper), was offended by the Princess’ rejection. Outraged that she would defy tradition, he decides to take the castle, hold her family hostage and force her hand. If anything, The Princess is a more confident analysis of how men are socialized to feel entitled, to consider women as property and to behave in unhinged ways in response to any perceived disrespect. His behavior is frightening, but not unfamiliar.

The Princess has less than 24 hours to save herself, her family and their kingdom. Lustig and Thornton’s narrative parameters up the stakes of their run-of-the-mill story. As our protagonist slips into and out of different rooms and floors of the palace, she reflects on memories. Shown to us in flashback, these sequences round out the story, adding the necessary background context. The Princess, we are told in more ways than one, had an untraditional upbringing, honing her interest in sword fighting with her mentor Linh (Veronica Ngo) while taking etiquette classes.

In thinking about her past, the Princess remembers lessons Linh tried to teach her about being a warrior. She carries her mentor’s words with her, committing them to memory and to heart. They replenish her confidence and keep her from giving in.

It’s hard to drum up excitement for films like The Princess, which have a chokehold on a market desperate to blindly capitalize on progressive values and ideas. Throwing a woman in front of the camera and a few feminist quips into the script does not make these films any less conventional, or necessarily any more empowering. The cruel irony is that the entertainment industry is overwhelmingly dominated by the kinds of people who consider The Princess’ basic premise radical. And so we end up with self-congratulatory films like these that effectively teach young people that sexism ends when a woman — smarter but equally violent to the men around her — becomes king.