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.

Cold War Collision: Review of The Man From U.N.C.L.E

The Man From U.N.C.L.E

Director: Guy Ritchie

By Alex Watson

Although it suffers from a rather bland story line, Guy Ritchie's adaption of The Man From U.N.C.L.E is a stylish affair that succeeds as pure entertainment. The dream partnership of Henry Cavill and Armie Hammer is one that make the picture click. Ritchie is gradually making a career on steadily paced action flicks and his good run continues here. This perhaps isn't quite the must see blockbuster as originally intended but there is enough thrills and witty banter for us to want a second helping.

During the cold war both CIA agent Napoleon Solo (Henry Cavill) and KGB agent Ilya Kuryakin (Armie Hammer) are forced to work together to stop a fascist group. Hatred and rivalry is still simmering from an unforgettable first encounter in East Berlin. Thrown into the mix is Gaby Teller (Alicia Vikander), the daughter of a renowned Nazi bomb scientist who is a target for both agencies. Can both men work through their animosity and save the world?

A cool and calculated work from the very get-go, Ritchie opens memorably as we play at cat and mouse game in East Berlin. Through rescuing Gaby, both agents become acquainted when Ilya and his 'barely human' abilities are ably demonstrated as he literally rips the tail off Solo's car. When paired together the result is a fine one as Solo's witty yet insolent humour wonderfully plays off Ilya's embittered intensity. Together the men share the shame goals and underneath all the bickering and one upping there is a fine team underneath.  The dueling of minds, car chases and clever tricks from former thief Napoleon give the picture a slick feel that allows it to glide along.

The villains Alexander and Victoria Vinciguerra (Luca Calvani & Elizabeth Debicki) are a little low on taste and have nothing to do little else than look rich and cunning. Centrally the story is one of the few misfires of an otherwise fine ride because outside the cool imagery, it just feels like a standard ride. The original TV series did pride itself on the characters solving a problem a week. This picture though runs out of fuel after a bright start and the picture instead becomes confused on what exactly the prime focus is? Action sequences become less frequent and the picture suffers from a lack of growth through this.

Aside from these forgivable oversights, The Man From U.N.C.L.E is still a great experience and thanks to a wonderful triumvirate it does succeed. Gaby is perhaps the trump card for both men because she truly fears neither. The budding romance between her and Ilya might not completely convince but it does give a great boost in the side laughs department. There is also wonderful late addition of British agent Waverley (Hugh Grant) who shows up to near upstage boyj men with a dry but well-timed sense of funny. Working both as an offbeat buddy comedy and as an action flick, Solo and Kuryakin are a perfect match for one another.

The principle success of Ritchie's film comes from the excellent pairing of Henry Cavill and Armie Hammer. From the start the pair plays off each other magnificently and Cavill's cocky and suave way is matched by Hammer's ferociousness. Refusing to be upstaged, Alicia Vikander holds her own as the tough natured Gaby. Although wanted by both agencies, Gaby firmly makes it clear that she belongs to no one and Vikander gives her a smart edge that helps her stand out. In a brief appearance Hugh Grant also gets a laugh in as Waverley and shows what is perhaps his finest work in sometime.

Guy Ritchie has done a good job developing The Man From U.N.C.L.E and has delivered one of this summers cooler thrillers. It might not be perfect, but it has enough excitement and provides a wonderful threesome to shape a series. Next time it might be a different story... tune in next week to find out!