Thoughts : I Kill Giants (2017)
Graphic novel film adaptations are certainly not a new phenomenon... as far back as the 1980âČs, filmmakers have found properties to transition from the page to the screen. As studios like Marvel and DC gain a stronger foothold in the film industry, however, there has been a surge of graphic novels that may have flown under the radar of most that have found new life via the silver screen. One of the more recent adaptations that has found itself at the center of much buzz is the modern day fantasy fairy-tale I Kill Giants.
Barbara (Madison Wolfe) lives with her brother Dave (Art Parkinson) and her older sister Karen (Imogen Poots), who cares for the two. In an attempt to escape her harsh family life, Barbara finds inspiration in two unique sources : the fantasy of Dungeons & Dragons, and the legend of former Phillies pitcher Harry Coveleski, known as âThe Giant Killerâ. Because of the fantasy world Barbara has created for herself, she finds herself isolated from her family and peers. One day, Barbara meets Sophia (Sydney Wade), a young British girl new to the states, and based on their connection, Barbara confides in Sophia that she is a giant killer and protector of their city. At school, Barbara is bullied constantly by Taylor (Rory Jackson), and her standoffish attitude keeps her in hot water with teachers and administration, but school counselor Mrs. Molle (Zoe Saldana) makes continuous attempts to breakthrough with Barbara in hopes of helping her find peace. Barbaraâs fantasies are so vivid, however, that it keeps her in isolation from everyone, including those that try to help her. Sophia and Mrs. Molle make repeated attempts to help Barbara, however, ultimately forcing her to face her fantasies and reality in equal measure.
Director Anders Walter wisely uses the magic, mysticism and fantasy of Dungeons & Dragons-style turn-based games to present an escape mechanism from reality, even going so far as to use video games represent modern day in direct comparison during the filmâs opening moments. That escapism is paralleled against an unappealing reality, where struggles, love and loss can be immensely painful, especially when youâre too young to have to deal with these things. Using escapism to hide pain and avoid facing hard truths gives the narrative forward thrust, with heavy symbolism coming from all angles that makes the initially vague story start to become clear as the viewer learns more about the situation.
The way the film captures the awkwardness and social anxiety of childhood, which is amplified when youâre considered an outcast, is pitch perfect. The struggles of a non-traditional, broken home family format are also shown with cutting reality, as vicious fights occur even when deeply unconditional love is present and attempts at clearing up misunderstandings fall short. The film does a great job of capturing the standoffish nature of misunderstood kids, and how hard it is for genuinely concerned adults to connect. The use of fantasy elements is perfect for the story, as belief so vivid in something nobody else understands that it leaves you alienated from all is a very real thing, though not in the fantastic nature presented by the film, obviously. In my opinion, this is possibly a film that can help children understand both sides of bullying.
The film uses a wonderfully muted color palette that allows visual variety while setting a proper mood on multiple levels. The fantasy sequences resemble moving comic images, specifically due to their stunning colors and visual textures. The presence of an exhilarating score that livens up as the fantasy ramps up keeps the viewerâs heart racing, adding to the experience.  The feel of a film from the 1980âČs or 1990âČs is present, but the advantages of modern CGI enhance the experience in new ways. The heartfelt writing that addresses heavy issues with tact and grace deserves praise and recognition. âUncomfortableâ cinematography is used well, as the camera tends to get intimate with the subjects rather than standing back and being observant.
Madison Wolfe gives an incredibly dynamic performance for someone so young, combining introspection, biting wit and bold determination together in the form of a mythic hero. Zoe Saldana provides unconditional love and support to a lost child, while trying her best to understand what seems very real to the Barbara character. Sydney Wade also brings an attempt at understanding to the table, but her childlike innocence and fear shine through her attempts to befriend the Barbara character. Imogen Poots displays the hurt of a child forced to deal with adult responsibilities, and perfectly embodies how painful that forced transition can be. Rory Jackson provides proper intimidation as a real-world antagonist for the Barbara character, with her imposing height, cold stare and sharp tongue sending chills down the viewerâs spine. Appearances by Art Parkinson, Jennifer Ehle, Don Wycherley, Sonya Kelly, Noel Clarke and more fill out the world of the narrative.
If someone were to take all of the best ideas of The NeverEnding Story, eliminate the fluff, and reposition the events that take place in the fantasy world into a strange middle ground of reality and fantasy, youâd have I Kill Giants. If this film doesnât achieve some sort of cult classic status in the oncoming years, Iâd be wholly surprised.
