The Man Who Would Be King: Review of King Arthur: Legend of the Sword

King Arthur: Legend of the Sword

Director: Guy Ritchie

By Alex Watson

The fast paced, action packed feel was well suited to Guy Ritchie's adaptations of Sherlock Holmes and The Man From UNCLE. Experimenting with this approach again is what hinders King Arthur: Legend of the Sword. While Ritchie's film gives short bursts of exhilaration, its style feels ill-suited to the story. A planned six-movie saga feels unlikely to go ahead after this first dull and confused piece. In this century, this mythical tale cannot seem to catch a break.

Arthur (Charlie Hunnam) is an orphaned boy raised in a brothel in Londinium. Unaware of his past as the son of the fabled King Uther (Eric Bana), Arthur miraculously pulls the sword Excalibur from a stone. His uncle Vortigern (Jude Law) has claimed the throne and rules the land with an iron fist, so is none too pleased to learn of his nephew's return. Arthur is forced to go on the run with a band of rebels including a Mage (Astrid Berges- Frisbey) all the while questioning his destiny.

The reason for the failure of King Arthur: Legend of The Sword (now projected to lose $150 million) is that Ritchie tries to mash too much together. His opening visuals are absolutely stunning and seeing massive 300-foot elephants descend upon Camelot is a real eye-opener. Witnessing first hand the power that Excalibur wields, naturally, we assume Ritchie is setting us up nicely. After Vortigern steals the throne by brutally usurping his elder brother, Arthur is forced into a tough urchin life in Londinium. Watching him grow from a scared young pup to a fist-fighting protector of the weak feels massively out of the place for this film. Ritchie quickly gets the film bogged down as we become accustomed to hearing actors shouting at each other. Part of the issue is how the picture is shot, cinematographer John Mathieson's murky and dark photography makes the visual effects and action feel underwhelming.

It is never quite certainly what the prime focus of this film really is? There is a lot of hocus-pocus sorcery going on and some ill-advised narrative mix-up. You get the sense Ritchie is perhaps trying to be too clever with this picture when a more straightforward approach is needed. A solid middle act does redeem the movie in some ways as Arthur toils to become the great king he is destined to be. The moment Arthur finally lifts Excalibur should be one of great triumph, sadly it is ruined by an embarrassing David Beckham cameo as a Cockney soldier. Although there some nice thrills as this group of misfits plot and scheme against Vortigern, it's just not enough. Ritchie still proves to be adept at set pieces but this movie cannot live off short term thrills.

Vortigern has the potential to be a real menacing villain, unfortunately, the material just isn't there for him to make an impact. He is cold blooded for sure, just look at how he obtains the crown. Aside from some marvellous magic, he just feels a little forgettable. Arthur himself doesn't come off wonderfully either. Although heroic and brave, his smarmy and cocksure arrogance makes him difficult to warm too. For an origin's story we never really get a grasp at his backstory aside from a rushed montage. His difficulty dealing with the power of Excalibur is well documented, but he never fully grows into the kind of king we expect. Then again, Ritchie and co had ideas of slowing his development over a six-pack of films. With a proven A-list director and a good supporting cast, you get the feeling this is a big missed opportunity.

Charlie Hunnam once again comes off as the movie's weak link. Although he handles the physical side of this character well, his smartass portrayal of this King is tough to swallow. There is little doubt Hunnam has great presence, he is just not castable in everything. Jude Law clearly has a ball hamming it up as Vortigern. But even his best thespian efforts cannot rescue this character from obscurity.

King Arthur: Legend of The Sword will be one of the more confusing blockbuster efforts 2017 has to offer. Guy Ritchie is undoubtedly a great action director, but his lack of focus makes this one reign we hope doesn't continue.

In The Heart Of The Sea: Review of The Finest Hours

The Finest Hours

Dir: Craig Gillespie

By Alex Watson

If you are looking for a middle of the road rescue thriller then The Finest Hours may just be the picture you are looking. This picture is a solid effort from director Craig Gillespie that offers some decent thrills to mask its lack of depth. The efforts of four men to save dozens in a little known but frankly remarkable rescue make for a great subject, it's just a shame it's in the wrong hands. Although it entertains well, this picture will be unlikely to stick in your mind after the credits roll.

Bernie Webber (Chris Pine) is a member of the Coast Guard in Chatham, Massachusetts but he is soon brought into an event that could have fateful consequences. The oil tanker 'The Pendleton' has been split into two in the rough ocean and the surviving crew led by Ray Sybert (Casey Affleck) are clinging on for dear life. Despite feeling a reluctance, Bernie along with other crewmen Richard Livesey (Ben Foster), Anthony Fitzgerald (Kyle Gallner) and unprepared Seaman Ervin Maske (John Magaro) go forward into the great unknown.

The need for survival is one aspect that is made obvious in The Finest Hours and smartly Gillespie opts to keep his heroes low key. Bernie is an ordinary and slightly nervous guy who is set to marry his sweetheart Miriam (Holliday Granger) but by Coast Guard Regulations he has to ask permission. Sadly although we like the guys in the boat, we never properly get to know them. There is a talk of a failed rescue mission that put strains on several community members but full details are never really disclosed. Likewise with the men of the Pendleton, Sybert and co fit the usual ship stereotypes with the unsocial leader and the gruff and tough veteran (Graham McTavish). Gillespie fails to understand that to connect with a drama like this we need to our crew.

After a lot of back and forth huffing by commander Cluff (Eric Bana), the crew is sent out into hell, despite the locals assurance that they will not return due to the harsh conditions. The men's bravery is something to admire and as Bernie denotes "They say you have to go out, they don't say you gotta come back!" Gillespie invests too much of the movie back on land watching the men spout their nautical speak when the picture is crying for something larger. The men of Pendleton, however, have an equally bleak task of keeping a heavy ship from sinking below. Gillespie's enthusiastic camera work glides through the different layers of the ship and we get the sense that time is being borrowed.

At sea is where The Finest Hours feels most comfortable and the action here gives events a real spark. Heading into choppy waves and surrounded by 60 MPH winds, the task seems impossible but through the excellent cinematography by Javier Aguirresarobe, it gives sufficient thrills. Their tiny boat battles continuous rolling waves while the Pendleton struggles to keep their heavy wreck afloat. Even though they keep getting told to give up, Bernie and co show a strength that is heartwarming. It seems incredible that a 36-foot boat was able to achieve such a task when on other days it could have perished. Gillespie keeps us well entertained but this kind of heroism deserves more fitting treatment.

Chris Pine again proves to be a capable and likeable lead as Bernie Webber, although this time he is free of the cocky heroism we have to expect from him. Playing his character as a troubled but coping sailor, Pine is able to stamp his characters authority when most needed. Though this role doesn't feel like one that tests his ability. As the emotionally vacant Sybert, Casey Affleck is by far the standout performer. Unattached from his crew because he needs to act not argue, Ray resorts to erratic measures to assure safety for his men and through Affleck he feels most believable lead of the bunch.

Craig Gillespie does a solid job on The Finest Hours but unfortunately, he is unable to raise this past being the standard Disney thriller. In places, this story entertains but it is not one of the memorable efforts you will see in 2016.