Red States' worst nightmare rules on screen.
The King (2006)
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Reviews Counted: 74
Fresh: 40
Rotten:34
Average Rating: 5.9/10
Consensus: This disturbing film about the past coming back demanding its due evokes classical tragedy, but is ultimately too heavy-handed.
Synopsis: Gael Garcia Bernal (THE MOTORCYCLE DIARIES) may posses the rugged good looks of a classic screen star but he continues to dodge Hollywood, instead choosing to follow his own idiosyncratic path with movies like THE KING. Bernal stars as... Gael Garcia Bernal (THE MOTORCYCLE DIARIES) may posses the rugged good looks of a classic screen star but he continues to dodge Hollywood, instead choosing to follow his own idiosyncratic path with movies like THE KING. Bernal stars as Elvis Valderez, a recently discharged Navy recruit who travels to Corpus Christi, Texas, to track down the father he's never met. But when he finds him, Elvis is in for a shock; his father, David Sandow (William Hurt, who surely based his performance on the all-too-real John Mark Byers from PARADISE LOST), is the leader of a Baptist congregation in Corpus Christi, and has instilled strong Christian values in all of his family. David wants the rogue-like Elvis to steer clear of his flock, perhaps fearing that he'll reveal long-buried secrets about David's past. But when the ex-Navy man sees his father's daughter, 16-year-old Malerie (Pell James), he longs to form a romantic bond with her. Initially unaware that Malerie is his half-sister, Elvis continues to pursue her even when he discovers their family relationship, leading to smalltown tumult with plenty of unexpected twists in the plot. Despite having only one prior film to his name (the wonderfully gloomy documentary WISCONSIN DEATH TRIP) director James Marsh pulls some great performances from Bernal and Hurt, and beautifully captures the dazzling sunlit countryside of this small Texan outpost. Indeed, cinematographer Eigil Bryld--who also worked with Marsh on his previous film--plays a big part in setting the tone of the movie with his stark use of color, which is well matched by an accomplished script from Milo Addica (MONSTER'S BALL). [More]
Starring: Gael Garcia Bernal, William Hurt, Pell James, Paul Dano
Starring: Gael Garcia Bernal, William Hurt, Pell James, Paul Dano, Laura Harring
Director: James Marsh
Director: James Marsh
Studio: ThinkFilm
Get This Movie
Release:
Oct 10, 2006
DVD Features:
- Region 1
- Keep Case
- Anamorphic Widescreen - 16:9
Audio:
- Dolby Digital 5.1- English
- Dolby Digital Stereo 2.0 - English
- Closed Captioned - English
- Subtitles - Spanish - optional
Additional Release Material:
- Audio Commentary - Filmmakers (unspecified)
- Behind the Scenes
- Making of - Actor Rehearsals
- Original Theatrical Trailer
- Trailers
Interactive Features:
- Interactive Menus
- Scene Access
Reviews for The King
Good work that, with a little more effort, could have been so much better.
The filmmakers' stoicism finally proves insurmountable and indefatigable
I'm all in favor of warts-and-all depictions of Christians, but the closer you look, the more you realize that warts are all this film has to offer.
A Southwestern American pastoral of dormant menace, The King is a film of triple-dipped mood that turns on an act of shocking violence, but still seems to substitute willful indistinctness for insight.
"The King" actually moves you, particularly because it has outstanding actors like William Hurt and Gael Garcia Bernal giving haunting, complex performances.
Programmed by the fatalistic filmmakers toward a cruel outcome, but the actors make it convincing...
Both Hurt and Bernal drift through their performances, leaving the audience as unfulfilled as an empty collection plate.
The many possible ways to read the film might be more fruitful if Marsh's direction was more assured.
Marsh has a knack for setting up twisted situations, and he nicely counterbalances the horror by filming everything in a straightforward, muted style.
The real acting sparks are generated by Hurt, delivering an absolutely sincere performance as a reformed sinner basking in God's love.
While Elvis' briefly startled face isn't precisely legible, your reading is pretty much ordained.
The King suffers from an overbearing sense of its own self-importance.
So wildly and absurdly melodramatic in every way, shape and form that many viewers will be unable to decide whether it is a flat-out masterpiece or the most lurid piece of junk that they have ever seen.
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