‘The Princess’ – Simple Exploitation

Not by chance, the Vietnamese Le-Van Kiet became known in 2019 with ‘Furie’, one of many films that today can be considered a “replica” of ‘Murder Raid’ (and its sequel). A simple but effective film that one would rarely watch because of the argument: The truth is that here you come to see wafers like bread, the excuse is often the least important (although a good one is appreciated). Because there are many replicas, but like ‘Murder Raid’ (and its sequel) very few. ‘The Princess’ is not even close to ‘Killing Raid’, just as Joey King is not a martial artist like Iko Uwais is. He is also not a replica, being more like a surrogate. Or a cheap imitation, like that guy from Albacete who acts like he’s from the South Bronx. A film that doesn’t feel authentic, clouded by its adherence to sedentary, low-risk commercial cinema Made in Hollywood. Like hiring John Woo to shoot as Brett Ratner. In this way, ‘The Princess’ is low-profile, conservative, impersonal and unimaginative exploitation cinema. A functional product that acts as a superficial, contemptible and temporary distraction that won’t stop us from getting on with our lives in the meantime. Or the typical movie to watch in the background at work, like someone who listens to the radio with variable interest depending on the moment. That moment, of course, is that of the hosts. Cause and at the same time solution of all the problems of the world. That’s what we’re here for, and it can’t be said that ‘The Princess’ doesn’t comply in that regard, especially for those who aren’t used to seeing this type of film. Or to not see the oriental ones because they seem too exotic… or violent… or authentic. It is still just that, a substitute for an action movie for those who do not watch action movies, being a dull and forgettable but honest production, which in turn, being fair, makes it a worthy (although forgettable) production. ).

By Juan Pairet Iglesias