It's too full of tired clichis to be the Night of the Hunter it wants to be, but it tries its best, and the top-notch performances from Bernal and Hurt carry the deadweight.
The King (2006)
Tomatometer
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Reviews Counted:76
Fresh:42
Rotten:34
Average Rating:6/10
Consensus: This disturbing film about the past coming back demanding its due evokes classical tragedy, but is ultimately too heavy-handed.
Theatrical Release:May 19, 2006 Limited
Box Office: $157,875
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... 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
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Reviews for The King
The degree to which this film is unsettling is testimony to the strength of the acting and direction.
A dark and deeply unsettling movie with its roots in classical tragedy.
You think the movie is going to be one thing, like maybe a family drama about forgiveness for past wrongs, but it totally heads off in directions you don't expect.
It's not a story easily shaken, however, or easily pigeonholed, inhabiting instead a bright and evil category all its own.
A strange, disturbing movie that will appeal to you if you like to leave the theater with lots of questions to mull over.
A compelling, intelligent and provocative sins-of-the-father story with a terrific ensemble cast, and a standout Mr. Ripley turn by the ever-versatile Gael García Bernal.
The director, James Marsh (who wrote the script with Milo Addica), is a genius at keeping both levels in focus -- the conventional thwarted romance on top, the unholy mythic horror show under the surface.
It's not until it's over that you fully appreciate how emotionally suspenseful it was.
A complex, deeply disturbing parable that's certain to find as many detractors as fans.
The imagery and the acting are often sufficiently persuasive, reminding one of the old, um, cliché about clichés being clichés because they're true.
Surely among the darkest-themed movies ever made, British director James Marsh's The King is the jaw-dropping story of a born-again Christian facing the sins of his past in ways unimaginable.
Offers a fascinating consideration of religion and religiosity, sin and revenge, and the ultimate question for Christians: Can evil be forgiven?
Dense with religious allegory, The King is so bizarre and so sly even the Catholic Church didn't know whether to ban it or not.
Programmed by the fatalistic filmmakers toward a cruel outcome, but the actors make it convincing...
Even if the filmmakers are to be distrusted as slumming ethnological tourists, they treat the message of religious fundamentalism seriously.
| Tomatometer Percentage | Movie |
|---|---|
| 77% 77% | The Hangover |
| 88% 88% | Inglourious Basterds |
| 66% 66% | Public Enemies |
| 24% 24% | G-Force |
| 44% 44% | Night at the Museum: B… |
| Tomatometer Percentage | Movie |
|---|---|
| 82% 82% | Paranormal Activity |
| 57% 57% | 9 |
| 44% 44% | Jennifer's Body |
| 58% 58% | A Perfect Getaway |
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