Jack The Giant Slayer (2013)
When the lights go down and the digestive juices are eagerly expecting creative sustenance, Jack The Giant Slayer (2013) immediately tells you this is an impressive and exciting film by a piece of over-the-top-bombastic music that can’t possibly be sustained. If it was going to be this deafening, sorry exciting, for the next 114 minutes, our ears be worn down to the quick and that would never do. We would lack the strength to rise from our seats and go eat some monster nibbles at the nearest fast-food outlet? So the volume, pace and tempo must drop, and then duck in and out of gentle storytelling mode. So here comes the set-up. Young Jack and Princess Isabel sit in their respective low-born and high mucky-muck beds while their parents tell the story of how monks first attempted to grow the bridge between Heaven and Earth, but instead opened the door for the giants to come down the beanstalk and start eating us. Now there you have it. Hubris! It always gets people into trouble, particularly when they start deluding themselves into believing there’s a shortcut to Heaven. The moral so far is don’t go down to the woods today because giants are holding a finger-food event.
We then get one of these nice fairy story ideas that would require explanation in any other context. Needing a way to control the giants, the humans kill a giant (no mean feat), extract its heart (not so difficult once deceased) and then melt it down to make a crown for the king to wear (hmmm — giants have metallic hearts and, as an aside having no significance whatsoever, the tract for food to pass down into their stomachs is full of water and not an acid or enzymes or anything else that might consume input as food). Consequently (sic) when the king wears the crown, he can control the giants and tell them to climb back up the beanstalk. Once the last one has climbed back up, they (probably the humans working from the bottom up) cut down the beanstalk and promptly relegate all the factual aspects of the invasion to myth (in rhyme so it can be told to children). So that’s all right then. All done and dusted, as these British types say.
Ten years later (wow, time sure does pass fast in these tales), Jack (Nicholas Hoult), the daydreamer, is sent off to market to sell the horse and cart, but is distracted by a pantomime version of the fairy story and the now beautiful Isabel (Eleanor Tomlinson). Of course we have the usual palace conspiracies for Roderick (Stanley Tucci) to marry Isabel and rule the world (which plans have already led to raiding the old King’s tomb and extracting both the fatal seeds and the magic crown). Why is it, I wonder, that villains are usually called Roderick in these fantasy films? When a monk steals the seeds who else can be trusted to do everything wrong but Jack. Take the seeds to the Abbey (yes) and on the way, don’t get them wet (now that shouldn’t be so hard, should it).
At this point the Princess knows she’s in serious danger of becoming the token woman and so makes a dramatic speech claiming not to be some fragile creature. No, she wants to take responsibility, get to know the people, and set herself on the path to being a Queen. When King Brahmwell (Ian McShane), still overcome with remorse from the loss of his wife, hears this, he tells her to shut up and marry Roderick. So much for empowerment and the mediaeval feminist movement. That’s why she runs away, like any self-respecting Princess would in a fairy story. Inevitably, because that’s what the plot requires, she ends up in the tenant farm occupied by Jack — it’s dark, raining and she can’t see where she’s going. This is a bad thing because, with the roof leaking, one of the seeds is going to get wet. Obviously these are GM seeds because this specimen sure does grow fast and carry the farmhouse and the Princess up to the land where giants have been imprisoned (they’re led by General Fallon (Bill Nighy and John Kassir — it’s a big body to move around and it needs all the brains it can get). As a further aside, there must be a time distortion effect in operation because it’s the same exclusively male army of giants that were beaten the last time around. They have survived the hundreds (?) of years without any female companionship to make life worth living or perpetuate their species.
As the excitement rises to fever pitch, i.e. the music wakes us up, we meet Elmont (Ewan McGregor), the wannabe Jedi knight in charge of the rescue expedition up the beanstalk. He has his moments but lacks credibility, a fact made abundantly clear when they meet the first giant. This leaves Jack and the villain, who conveniently has the crown with him, running free in the land of the giants. Naturally, the villain uses the crown to control these poor creatures and plans to take over the world. With the first signs of true love blossoming, Jack gives the inspirational speech to the Princess. She’s not useless. She’ll make the world a better place. So then it’s divide and rule. Jack takes the Princess down the beanstalk and the Jedi knight type stays up top to kill the villain with the controlling crown. This creates a problem because when you’ve spent the first part of the film establishing the villain, it’s not good to kill him off and leave the giants as the villains when we don’t care about them. In the best fantasy films, the best villains are always the ones who are the most human. They betray and scheme, laugh when they succeed and cry when they suffer a reversal, i.e. they are credible as characters. It would have been so much better if Roderick had led the giants down to attack the kingdom. Jack could then have sneaked into the giant’s camp and killed the “old man” in a “fair fight” and taken the crown. That’s the right level of heroism for this Jack. When it comes to the ending, Jack’s got a great cart horse and he’s the saviour of the kingdom (more by luck than good judgement), relegating the Princess to the pretty one who gives birth to children and so loses her good looks.
I think the problem is that Bryan Singer and the people behind this film couldn’t make up their minds whether they wanted it to be scary or camp. The result is that it’s neither frightening in the slightest nor genuinely amusing. As a plot, it would have made a great thirty-minute episode in an animated series of fairy stories. It ticks the right boxes but it drags everything out to interminable length with poor CGI. The script is a dead weight round the necks of the high-powered cast of actors so they can’t get laughs to paper over the cracks. The giants are suitably massive and throw trees around like matchsticks (not sure how they set then on fire first), but they’re not used to frighten. Although he does kill one by accident and causes two more to die, Jack never feels like a heroic giant slayer. And just telling them all to quit making a nuisance of themselves and go home is a ho-hum ending. Sadly, Jack the Giant Slayer is just dead on arrival.