My review was written in May 1991 after a Cannes Film Festival Market screening.
Wholesome, square family entertainment returns with "The Giant of Thunder Mountain". Well-mounted production offers nothing new but is nevertheless an entertaining package for old-fashioned audiences.
Actor Richard Kiel, best known for his toothy running role as Jaws in Roger Moore-led James Bond epics, is co-writer and executive producer of this wilderness adventure. He's also thoroughly sympathetic as a literal giant wh's become a legend to nearby townsfolk.
A huge bear kiled his parents, and Kiel has lived as a hermit ever since. When young siblings Chance Michael Corbitt, Ryan Todd and Noley Thornton find and befriend the big fellow, Kiel shaves off his beard and gets presentable to meet their widowed mom.
Unfortunately, crooked carnival man Jack Elam and his two sons are up to no good and Kiel gets blamed for their misdeeds. Pic effectively opposes vigilante justice and gets good mileage out of the small-town prejudices that mock and mistreat someone different, such as the 7-foot-plus Kiel.
Pic's high points are undoubtedly the scary fights involving guest star Bart the Bear, whose repertoire of moves is limited but effective. Script contrives to defeat Bart without killing him, a refreshing novelty for a usually bloody genre.
With Elam perfect as comic relief, Kiel carries the picture with an earnest performance in a tailor-made role. Cast of familair good-ol' boys is fine, and Marianne Rogers projects a mature beauty akin to Jennifer O'Neill as the romantic interet. The kids are cute but resistible.
Helmer James Roberson is experienced in this type of picture, and film scores high on Stephen Shank's widescreen visuals of beautiful, unspoiled locations. Robyn Smyth's costumes ring ture in conjuring up the right period feel. Soun effects for Bart or Kiel galumphing along the ground are overdone.
Wholesome, square family entertainment returns with "The Giant of Thunder Mountain". Well-mounted production offers nothing new but is nevertheless an entertaining package for old-fashioned audiences.
Actor Richard Kiel, best known for his toothy running role as Jaws in Roger Moore-led James Bond epics, is co-writer and executive producer of this wilderness adventure. He's also thoroughly sympathetic as a literal giant wh's become a legend to nearby townsfolk.
A huge bear kiled his parents, and Kiel has lived as a hermit ever since. When young siblings Chance Michael Corbitt, Ryan Todd and Noley Thornton find and befriend the big fellow, Kiel shaves off his beard and gets presentable to meet their widowed mom.
Unfortunately, crooked carnival man Jack Elam and his two sons are up to no good and Kiel gets blamed for their misdeeds. Pic effectively opposes vigilante justice and gets good mileage out of the small-town prejudices that mock and mistreat someone different, such as the 7-foot-plus Kiel.
Pic's high points are undoubtedly the scary fights involving guest star Bart the Bear, whose repertoire of moves is limited but effective. Script contrives to defeat Bart without killing him, a refreshing novelty for a usually bloody genre.
With Elam perfect as comic relief, Kiel carries the picture with an earnest performance in a tailor-made role. Cast of familair good-ol' boys is fine, and Marianne Rogers projects a mature beauty akin to Jennifer O'Neill as the romantic interet. The kids are cute but resistible.
Helmer James Roberson is experienced in this type of picture, and film scores high on Stephen Shank's widescreen visuals of beautiful, unspoiled locations. Robyn Smyth's costumes ring ture in conjuring up the right period feel. Soun effects for Bart or Kiel galumphing along the ground are overdone.