It's the kind of work where characters develop on their own, without consulting the book of cliches.
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.
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
[Marsh] and co-writer Milo Addica display such contempt for their characters and religious conviction in general, they reduce everything to one-note banality.
Disturbing, but not haunting or soul-scorching, which is obviously what the filmmakers wanted.
Dark, disturbing and audaciously original in a way only indies are given license to be anymore.
A complex, deeply disturbing parable that's certain to find as many detractors as fans.
A dark and deeply unsettling movie with its roots in classical tragedy.
Isn't a particularly good film, but it is a perversely fascinating one.
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.
Its attempts at symbolism regarding sin and faith are astoundingly heavy-handed and further dampened by an ending that will be greeted with either silence or sneers.
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.
A lurid, overheated Southern Gothic that wallows in its own unpleasantness.
A rather beautifully produced indie mix of melodrama, ethnographic detail, and modern Southern gothic.
The imagery and the acting are often sufficiently persuasive, reminding one of the old, um, cliché about clichés being clichés because they're true.
While the appealing Mr. Bernal can do little with the cruel task he has been given, the rest of the cast, particularly Mr. Hurt and Mr. Dano, invest their characters with real feeling.
Just about the only way to make sense of the film is to view its Christian family the way that the director, James Marsh, does -- with a contempt masquerading as social criticism.
... one of the more disturbing and chilling films so far this year ...
Watching The King is a mesmerizing, nerve-wracking experience. Bernal meanwhile heightens the tension with his ever-present angelic smile.
Hail to The King, a quietly shocking slice of Southern Gothic from British director James Marsh.
This story of a prodigal son returning to wreak havoc devolves into pointless and preposterous nastiness.
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.
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