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The King (2006)
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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.
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
Reviews for The King
Watching The King is a mesmerizing, nerve-wracking experience. Bernal meanwhile heightens the tension with his ever-present angelic smile.
This story of a prodigal son returning to wreak havoc devolves into pointless and preposterous nastiness.
The many possible ways to read the film might be more fruitful if Marsh's direction was more assured.
Echoes the dread-soaked likes of In The Bedroom and The Virgin Suicides as an examination of the human heart as well as the divine one.
Hail to The King, a quietly shocking slice of Southern Gothic from British director James Marsh.
He's played morally unsettled men before, but Marsh doesn't bring a sense of torment or menace out of Bernal the way other directors have.
Supported by a strong cast, Garcia Bernal plays the antihero as a creature of instinct, torn between survival and the urge to confess.
"The King" actually moves you, particularly because it has outstanding actors like William Hurt and Gael Garcia Bernal giving haunting, complex performances.
It's the kind of work where characters develop on their own, without consulting the book of cliches.
Disturbing, but not haunting or soul-scorching, which is obviously what the filmmakers wanted.
The first-time director, James Marsh, and his co-writer Milo Addica (who wrote Monster's Ball), sustain a black-comic tone, and the performances, as far they go, are quietly chilling.
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.
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.
Grim and dreary, this depressing drama seems to serve very little purpose...
Programmed by the fatalistic filmmakers toward a cruel outcome, but the actors make it convincing...
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