The 1980s saw a wealth of children’s fantasy films that were incredibly dark in theme & tone, considering their target audience. Titles like Return to Oz, The Never-Ending Story, The Dark Crystal, and Paperhosue seemed custom designed to bore parents out of the room just so they could scare children shitless as soon as they were alone with the VCR. These tonally hazy fantasy films are a little too traumatic for most kids and a little too precious for most adults, but they can generate a fascinating tension through that divide. There are plenty of modern entries into that canon keeping the tradition alive too; they just tend to be minor indie releases too few people get to see: MirrorMask, American Fable, The Hole, etc. Let’s go ahead and add I Kill Giants to the traumatic children’s fantasy movie pantheon. Remarkably similar to the recent dark fantasy drama A Monster Calls in both themes & tone, it might be tempting to pass off I Kill Giants as a lesser echo of that more accomplished work. The truth is, though, that both films are part of a larger tradition and work exceptionally well as companion pieces, especially since I Kill Giants offers a version of A Monster Calls’s dark fantasy template through a more femme POV.
Like A Wrinkle in Time, I Kill Giants is the perfect fantasy piece for gloomy middle schoolers who believe they’re fundamentally different from all the “other girls.” Truthfully, all middle school girls would probably self-identity as being Not Like Other Girls, but the giant-killing anti-hero of this film pushes that personality trait to the extreme. Dressed like a feral Louise Belcher left to run wild & dingy in the New England wilderness (bunny ears & all), our troubled protagonist finds herself at the center of a mythical battle everyone else in her small town seems to willingly ignore. Deploying homemade steampunk contraptions of her own invention (straight out of The Book of Henry), and casting spells & potions like an amateur woodland witch, she serves as a self-elected protector of her town against the impending threat of murderous giants. Since she’s an avid D&D player and a fantasy illustrator with a vivid imagination, it’s unclear if these giant CGI threats at the edge of the woods & ocean are “real.” Her obsession with their looming danger makes her hopelessly socially awkward around peers and her hexes are often interpreted by authority figures to be frivolous vandalism, but she very well may be saving those lives from the towering brutes they rationalize as “tornadoes and earthquakes and crap.” What is clear, however, is that she is using her pursuit of the giants as an excuse to avoid dealing with a mysterious trauma in her own home, the reveal of which serves as the film’s cathartic release.
Ultimately, I don’t believe I Kill Giants uses its killer-giants metaphor as a way of dealing with Death & bullying through a childhood lens quite as well as the thematically similar A Monster Calls; it certainly doesn’t have as sharply specific of a point to make about processing trauma through that device, at least. However, it does work well enough on its own terms to survive the comparison, especially once it finds its narrative grooves in the relationships our emotionally-battered protagonist establishes with her best friend, her school psychologist, and her older sister (the latter of whom are played by Zoe Saldana & Imogen Poots, respectively). If the movie needs to separate itself from J.A. Bayona’s similarly gloomy children’s literature adaptation (I Kill Giants was adapted from a 2008 graphic novel, while A Monster Calls’s own illustrated source material was published in 2011, so who cares), its existence is more than justified by reframing the story with a femme perspective and finding its emotional core in a wide range of female bonds. It’s an unnecessary distinction to have to make, though, since both films are part of a much larger dark children’s fantasy tradition. If you normally fall in love with films that hover between child’s imagination sensibilities & traumatically adult themes, you’re likely to find worthwhile qualities in either picture. If that tension is not usually your cup of genre movie tea, though, I doubt I Kill Giants will be the one to finally win you over.