[Early Review] The Curse of La Llorona (2019)

Director: Michael Chaves

Cast: Linda Cardellini, Raymond Cruz, Patricia Vasquez

Screenplay: Mikki Daughtry, Tobias Iaconis

93 mins. Rated R for violence and terror.

 

I had one major question about the marketing for this movie before I went in, and I left with that same question: why the hell did they not market this film as a part of The Conjuring Universe? It states on most of the material that the film has the same producers and studio as The Conjuring, but not once in the marketing is expressly stated. I just don’t get it. This film is not like Captain Marvel or Aquaman where you have the understanding going in that it naturally connects to a shared universe, so why the hell not use that angle in your marketing?

The Curse of La Llorona, based on Mexican folklore, follows Anna Tate-Garcia (Linda Cardellini, Avengers: Age of Ultron, A Simple Favor), a widowed social worker and mother of two who is searching for foul play in a tragedy involving a case she has worked for some time. As she probes for information about the tragic events, her family begins to see supernatural horrors in the form of a weeping woman called La Llorona who has now targeted her kids. When the church is unable to help her, Anna turns to Rafael (Raymond Cruz, Alien: Resurrection, TV’s Major Crimes), a mystical former priest who believes he can stop La Llorona before the weeping woman claims Anna’s kids for herself.

The Conjuring franchise has struggled with quality in their spin-off films, and The Curse of La Llorona is no exception. I applaud it for choosing to hit its horror very early but that leads to a sacrifice in character development. We don’t get to know much about Anna’s kids and so our only fear from them comes from the fact that they are children and because the audience understands Anna’s love for them. Outside of that, though, they are tremendously underdeveloped.

Raymond Cruz gives great work here but I didn’t like that screenplay from Mikki Daughtry and Tobias Iaconis (Five Feet Apart) gave his character so much comic relief. After a bulk of the film contains virtually no comic relief, getting it at the end from a character the audience is supposed to look to for safety is an odd choice.

The Conjuring Universe has been trying this interconnected thing and it’s probably the second-best cinematic universe right now outside of the MCU juggernaut, but I haven’t been a fan of their forceful shoehorning of references in their films. In this film, there is stock footage of Annabelle to show how Tony Amendola’s character connects these two stories and it couldn’t have felt more forced if the director had paused the narrative and stepped out in front of the film to proclaim, “Here! Look here! This is how they connect!” The film doesn’t need that to thrive. Just have Father Perez reference the Annabelle doll like he did and let that be it. It will not alienate people who did not see the first Annabelle film and for those that get it, it will be all the more fun.

I feel like we should talk about the actual horror in the film. This is an angry spirit who, for the most part, has two major elements to her scares: her voice and her shock value. The voice is a really strong part of her character. There’s one scene in particular that works really well in the film where we don’t even see La Llorona but we hear her crying and then her scream just filled the atmosphere, putting all the candles out in the dimly lit home. It’s a great moment that we don’t get enough of. The other scare, though, is done all too often. This film is full of jump scares. La Llorona barely has buildup when she appears outside of the sound of her weeping. Most of the time, though, director Michael Chaves (The Maiden, TV’s Chase Champion) doesn’t let his film breathe enough to develop the scares. It’s something I really hope he learns to do before he gets behind the camera for The Conjuring III.

Overall, The Curse of La Llorona is very similar to The Nun. Both films have strength in their spiritual mythologies, but they both struggle with building their horror and rely all too often on jump scares. I think this will appeal to fans of The Conjuring Universe, and it’s a breath of fresh air for a series that has relied so heavily on the Warrens and the main Conjuring film mythology. I surely had a lot of fun in this theater experience, so if you see it, do so on opening weekend with a good-sized crowd.

 

2.5/5

-Kyle A. Goethe

 

 

For my review of Corin Hardy’s The Nun, click here.

For my review of David F. Sandberg’s Annabelle: Creation, click here.

For my review of James Wan’s The Conjuring, click here.

For my review of James Wan’s The Conjuring 2, click here.

For my review of Michael Chaves’s The Maiden, click here.

[Early Review] Breakthrough (2019)

or “Not a Great Remake of The Dead Zone”

Director: Roxann Dawson

Cast: Chrissy Metz, Josh Lucas, Topher Grace, Mike Colter, Marcel Ruiz, Dennis Haysbert, Sam Trammell

Screenplay: Grant Nieporte

116 mins. Rated PG for thematic content including peril.

 

Breakthrough holds the historical distinction of being the first 20th Century Fox film released under Disney’s ownership. Fun factoid for you.

Breakthrough is based on the true story of John Smith (Marcel Ruiz, TV’s One Day at a Time), a teenager who fell through the icy lake and was without oxygen for an extended period of time. After being brought to the hospital, he was pronounced dead. His mother, Joyce (Chrissy Metz, Sierra Burgess is a Loser, TV’s This is Us) prays to God to help bring back her son, and miraculously, her son’s heart starts beating again, but John is still fighting for his life, and as the community rallies around Joyce and her family, prayer and hope become a fighting force.

I have gotten a lot of flak for my reviews of faith-based films in the past. I go into every film hoping for it to be a winner and I tend to put myself in the mindset of the film, asking “What does this film intend to accomplish?” For horror films, it’s usually to scare the pants off the audience. For comedies, it’s often to brighten someone’s day. It’s important to know a film’s intention before going in. When I see a faith-based film, I expect to have something inspirational or uplifting or at least something that challenges my beliefs to strengthen them. Most of the time, I don’t get that, and a lot of the time, it’s because the film doesn’t pull me in.

Breakthrough is one of the stronger faith-based films in recent years. It didn’t feel, to me, like the first feature film for a director, but it is. Director Roxann Dawson, a veteran of television directing for many years, tackles the subject material rather nicely.

The film’s biggest blunders come from its screenplay from Grant Nieporte (Seven Pounds). The script has some of the cringiest dialogue of the year, but there’s such a well-rounded cast performing that it isn’t as noticeable as often. That being said, there’s only so much that can be done with Chrissy Metz’s dialogue. She often has to deliver some really cheesy work and it falls flat at times and pulls you right out of the film.

The screenplay’s structure works pretty well in that it establishes our emotional conflicts in the film early on and plays with the relationships of the various characters as they maneuver in and out of the film. I respected the fact that Joyce doesn’t get along well with the new Pastor in town, played by Topher Grace (Spider-Man 3, TV’s The Hot Zone). Their conflict is a little goofier than I would have liked, but I still see the attempt. I also liked that the story attempts to tackle the idea that some people are saved by faith while others are not. It doesn’t wholly accomplish this, but again, it’s an area these films tend not to tread.

Perhaps the area where the film struggles in its overall narrative is placing Joyce at the center. I was much more engaged with her husband Brian (Josh Lucas, Sweet Home Alabama, Mark Felt: The Man Who Brought Down the White House) and his struggle to accept that his son is fighting for his life. I would have liked to see his journey to faith be reclaimed). I also liked Tommy (Mike Colter, Men in Black 3, Extinction), the firefighter who saves John because he hears a voice telling him to keep looking. His problem is that he thinks God was talking to him, but he doesn’t believe in God. Either of these characters would have been stronger to place the load of the film on because they both have journeys to go on. We never see Joyce truly struggle in a realistic way and that makes her less of a dynamic character who is believable. Her struggle is not identifiable.

Breakthrough is altogether not a great film, but as far as films of this type go, I think this one is worth catching if you need a pick-me-up. It’s rather glossy and the dialogue needed a miracle at times, but it also made me feel good at times and inspired me in little doses. Breakthrough is not for everyone, but it will satisfy its core audience.

 

2.5/5

-Kyle A. Goethe

Reign of the Supermen (2019)

Director: Sam Liu

Cast: Jerry O’Connell, Rebecca Romijn, Rainn Wilson, Cress Williams, Patrick Fabian, Cameron Monaghan, Jason O’Mara, Rosario Dawson

Screenplay: James Krieg, Tim Sheridan

87 mins. Rated PG-13 for sequences of action violence.

 

As I’ve mentioned before, DC is killing it with their animated universe. While their live-action work has struggled finding its footing (though I believe they have it now), their animated cinematic universe is chugging along quite well. They took their time in killing Superman, something that the live-action series did not do, and it paid off well for The Death of Superman, a really strong adaptation of the famous comic book arc. So what happens next?

Following the death of Superman (Jerry O’Connell, Stand By Me, Boy Band), the world has been in mourning for six months until four very different new heroes arrive on Earth, each one laying claim to the title of Superman. There’s Superboy (Cameron Monaghan, Amityville: The Awakening, TV’s Shameless), a young and arrogant teen with Superman’s abilities is seemingly backed by LexCorp and Lex Luthor (Rainn Wilson, The Meg, TV’s The Office). There’s also a hero named Steel (Cress Williams, Never Been Kissed, Lowriders), a Cyborg Superman, and a protector called The Eradicator. Needless to say, these multiple possible iterations of Superman are not playing nicely, and it is up to Lois Lane (Rebecca Romijn, X-Men, TV’s The Librarians) and the Justice League to make sense of it all.

Reign of the Supermen gets a little more convoluted than its predecessor. There’s a lot going on and I wish the film had more time to explore these different Supermen. It would make some of the more interesting developments all the more impactful. The story does get a little lost while building up its central plot.

The voice work again is spectacular in this film, with the exception of course being a woefully miscast Rainn Wilson. I like Wilson, but he does not exude the presence of Lex Luthor. Cameron Monaghan gives Superboy an injection of snobbiness that permeates the realism of a teenager with angst and superpowers.

The ending, though, is where the film’s impact is at its strongest, allowing all the buildup of two films to be resolved. It’s a well-edited, well-paced finale that makes up for some of the earlier plot problems. It doesn’t feel like a setup for future films but a culmination of much of what has come before.

Reign of the Supermen is an enjoyable superhero adventure is mostly successful in translating this popular Superman run into the feature film format. I would have liked more time given to the different Supermen, but overall, handing a larger portion of the screen time to Lois Lane has its benefits. If you liked The Death of Superman last year, you won’t be disappointed with this conclusion.

 

3.5/5

-Kyle A. Goethe

 

 

For my review of Jake Castorena and Sam Liu’s The Death of Superman, click here.

Leaving Neverland (2019)

Director: Dan Reed

Cast: Michael Jackson, Jimmy Safechuck, Wade Robson

240 mins. Rated TV-MA.

 

Leaving Neverland is the type of documentary made for discussion, and it’s also going to spark some controversy. In fact, in the past few weeks, it has done exactly that. There are heated opinions on both sides of this issue, so I’m going to start by just reviewing the merits of the documentary. Let’s get started.

Leaving Neverland is the story of Jimmy Safechuck and Wade Robson, two men who, as boys, were huge fans of pop sensation Michael Jackson. From their perspective, they both recount separate accounts of their sexual abuse at the hands of the famed musician. It also examines some of the family of these men and how they were involved. It’s a strange and disturbing tale filled with testimony that is difficult but very important to hear.

It’s important to note that the testimonies given within the documentary have not been proven, and to do would be very difficult as Michael Jackson is no longer living. What is striking is how similar the two stories are to one another. How Jimmy and Wade first came into contact with Jackson is different, but the route that their tales take has some strange similarities.

Looking at the film’s structure, I don’t believe that the 4 hour runtime is necessary. I think a good hour could have been shaved from the film. I know the stories are important and many of the events described within them deserves to be said, the gargantuan runtime struggles.

I won’t be the first person to state in his review that I could not finish the film in one sitting. This is due to the graphic description in the film. Safechuck, Robson, and director Dan Reed (The Valley, Three Days of Terror: The Charlie Hebdo Attacks) do not restrain themselves in the telling of the story. Reed elects to tell the story as it spans over many years and spreads across families over the option to focus on the different viewpoints in the many lawsuits against Jackson. The story Reed wants to tell is one of victims and their experience as opposed to looking at the entirety of the many cases. The way Reed takes his focus to the families and the bonds that formed between Jackson and the parents as well as the kids over many years is shocking, disturbing, and deeply unsettling.

Leaving Neverland raises some interesting questions about the nature of the artist and their relationship with their work. The reaction to the film has been somewhat expected, but I was surprised by radio stations removing Jackson’s music in response. I get it, but I was still surprised. Are we able to separate the artist from the work? With the case of people like Kevin Spacey, I can watch his films knowing that there are more people contributing than just he, but Michael Jackson is more a brand than just a person, so it’s a tough thing. I get anyone choosing to boycott the musician or any talent who has been accused of horrible things, but it is an interesting question.

This is a documentary that is essential viewing, but be warned: this is not a pleasant experience. As far as a cinematic experience goes, this documentary is not one to go back to, but it is very important and raises both questions and conversation.

 

3.5/5

-Kyle A. Goethe

ReMastered: Who Shot the Sheriff? (2018)

Director: Kief Davidson

Cast: Bob Marley

57 mins. Not Rated.

 

ReMastered is a monthly music-themed docuseries on Netflix. The first of these documentaries, directed by Kief Davidson (The Ivory Game, Bending the Arc), examines the mysterious shooting of Bob Marley and the possible CIA connection.

For me, Who Shot the Sheriff? doesn’t really scratch the surface of this mystery. They make some interesting claims, but I didn’t feel like they got anywhere deeper than surface-level assumptions based around conspiracy theory without any real discoveries. That’s the real failure of the documentary. I was very interested in the portions of Bob Marley’s life from a purely biographical aspect, but the mystery of the shooting is essentially a non-story based on the doc.

The doc should have focused more on the power of Marley’s music and the effect he had on so many. It spends some time on this portion in the doc but not enough. The power and effect of his music and presence is where the documentary is at its absolute best.

Who Shot the Sheriff? is a so-so documentary. I don’t think the film really knows what it wants to do. It plays itself as a mystery, but it never really delves any deeper into it. This one isn’t worth it for anyone outside of Marley super-fans.

 

2/5

-Kyle A. Goethe

Captain Marvel (2019)

Director: Anna Boden, Ryan Fleck

Cast: Brie Larson, Samuel L. Jackson, Ben Mendelsohn, Djimon Hounsou, Lee Pace, Lashana Lynch, Gemma Chan, Annette Bening, Clark Gregg, Jude Law

Screenplay: Anna Boden, Ryan Fleck, Geneva Robertson-Dworet

124 mins. Rated PG-13 for sequences of sci-fi violence and action, and brief suggestive language.

 

Captain Marvel, much to the chagrin of sexists and trolls, is good. Take that!

Vers (Brie Larson, Room, Basmati Blues), a member of the Kree Star Force team with no memory of her life until the last six years, has been taken captive by the Skrulls, a shapeshifting alien race, and when she escapes, she finds herself crash-landing on Earth. Aided by S.H.I.E.L.D. agent Nick Fury (Samuel L. Jackson, Pulp Fiction, The Hitman’s Bodyguard), Vers begins to uncover secrets of her past life on Earth. She is pursued by the Skrulls, led by Talos (Ben Mendelsohn, Rogue One: A Star Wars Story, Robin Hood), on her way to finding her past and her connection to a mysterious woman she does not remember named Dr. Lawson (Annette Bening, American Beauty, Life Itself).

Captain Marvel is filled with spoilers, so I avoided as much as I could, but the film is thick with mythology. Too thick at times and too thing at others. The screenplay has some holes and plotting issues, having perhaps traded hands too many times. It’s the biggest problem with the film. Not enough time is given to developing the various members of the Star Force, which would give more purpose to their goals. There’s also no understanding of Vers’s superpowers. They appear limitless in the film. No boundaries are given which limits the stakes.

Brie Larson is pretty solid in her MCU debut as Vers. Her best work in the film comes from her great chemistry with Samuel L. Jackson’s Nick Fury. The two actors have worked together on three previous films and, in Captain Marvel, a true comradery is formed. These two characters form a bond that really works well. I also liked her interactions with Lashana Lynch (Brotherhood, TV’s Bulletproof), who portrays Monica Rambeau, someone who knew Vers during her time on Earth and holds many secrets to who she was. I hope these two get more time together in future MCU installments.

Jackson and Clark Gregg (Spinning Man, TV’s The New Adventures of Old Christine) return to the MCU, playing their younger selves. The CG de-aging is so great in this film. The MCU is known for de-aging their actors in flashbacks, and each film seemingly gets better. Captain Marvel is the best version of this tech. Not once with Fury did I really think about the age difference. Clark Gregg had one scene where he looked a little glossy, but overall it didn’t pull me out of the film.

Outside of Jackson and Gregg, Djimon Hounsou (Blood Diamond, Serenity) and Lee Pace (The Fall, Driven) also return to the MCU as Korath and Ronan, having previously appeared in Guardians of the Galaxy. Unlike Jackson and Gregg, these two aren’t given all that much to do. It’s nice to see some more interconnectivity in the MCU, I feel like Korath is on the verge of more development but never quite reaches it, while Pace appears in essentially a cameo appearance. He’s just not given anything worthwhile to do.

Ben Mendelsohn is under thick makeup to play Talos, leader of the Skrulls who are pursuing Vers and Fury, and he’s so much more fun than most other actors would be under all that makeup. Mendelsohn is having fun here, and that’s noticeable. It’s a tough line to walk as a villain to be fun and still threatening, but his performance really works in light of his character arc.

An area where the film stumbles is from directors Anna Boden and Ryan Fleck, who are dealing with their first big budget film. Marvel has a tendency to get great success in this arena, but I feel like Boden and Fleck are in over their heads with the action. Their skills lie in the drama between characters, but when action happens, it doesn’t feel exciting in the way that it should. This is particularly noticeable in the finale. I didn’t get a sense of the direction in the action, and it was unfocused.

Captain Marvel had a tall order. It was the first solo female-led film in the MCU, the first film to be released following the death of Stan Lee (the way this is handled in the film is exemplary), has to lead into Avengers: Endgame, and became the target of asshole trolls. For the most part, it handles all of these problems very well. Outside of a muddled script and some directing issues, it’s a very fun time at the movies with a terrific 90s flavor and soundtrack, and an MCU movie to push forward into the Post-Endgame slate of the franchise.

 

3.5/5

-Kyle A. Goethe

 

 

For my review of Joe Johnston’s Captain America: The First Avenger, click here.

For my review of Jon Favreau’s Iron Man, click here.

For my review of Jon Favreau’s Iron Man 2, click here.

For my review of Louis Leterrier’s The Incredible Hulk, click here.

For my review of Leythum’s A Funny Thing Happened on the Way to Thor’s Hammer, click here.

For my review of Anthony and Joe Russo’s Captain America: The Winter Soldier, click here.

For my review of James Gunn’s Guardians of the Galaxy, click here.

For my review of James Gunn’s Guardians of the Galaxy vol. 2, click here.

For my review of Joss Whedon’s Avengers: Age of Ultron, click here.

For my review of Anthony and Joe Russo’s Captain America: Civil War, click here.

For my review of Ryan Coogler’s Black Panther, click here.

For my review of Jon Watts’s Spider-Man: Homecoming, click here.

For my review of Taika Waititi’s Thor: Ragnarok, click here.

For my review of Anthony and Joe Russo’s Avengers: Infinity War, click here.

[Short Film Sunday] A Funny Thing Happened on the Way to Thor’s Hammer (2011)

Director: Leythum

Cast: Clark Gregg, Jessica Manuel, Jeff Prewett

Screenplay: Eric Pearson

4 mins. Not Rated.

 

In the days of Phase 1 MCU, the franchise was still looking for footing. With that came the Marvel One-Shots, short films set in the MCU outlining characters and events not seen in the MCU theatrical releases.

A Funny Thing Happened on the Way to Thor’s Hammer is set between Iron Man 2 and Thor as Phil Coulson (Clark Gregg, Live by Night, TV’s The New Adventures of Old Christine) is heading to the site of Thor’s hammer, Mjolnir. Along the way, he stops at a Roxxon gas station for some snacks just as it’s about to get robbed. Coulson must use his S.H.I.E.L.D. training to escape.

This One-Shot is probably the weakest one in the entire bunch, humanizing Coulson but also showcasing his skillset in a way we didn’t see much of in the theatrical Marvel films. Clark Gregg is great as always but the short is four minutes of fluff. This is one to appease Marvel fans but any general audience member would have no interest. This actually would have made for a more fun post-credits scene as it has no purpose in building anything up in the MCU.

A Funny Thing Happened on the Way to Thor’s Hammer is cute and fun but really nothing special and rather forgettable. It’s always a good thing to have more Marvel content but outside of seeing Coulson’s uncertainty surrounding his favorite kind of gas station donuts, there’s little to pull here.

 

2/5

-Kyle A. Goethe

 

 

For my review of Joe Johnston’s Captain America: The First Avenger, click here.

For my review of Jon Favreau’s Iron Man, click here.

For my review of Jon Favreau’s Iron Man 2, click here.

For my review of Louis Leterrier’s The Incredible Hulk, click here.

For my review of Anthony and Joe Russo’s Captain America: The Winter Soldier, click here.

For my review of James Gunn’s Guardians of the Galaxy, click here.

For my review of James Gunn’s Guardians of the Galaxy vol. 2, click here.

For my review of Joss Whedon’s Avengers: Age of Ultron, click here.

For my review of Anthony and Joe Russo’s Captain America: Civil War, click here.

For my review of Ryan Coogler’s Black Panther, click here.

For my review of Jon Watts’s Spider-Man: Homecoming, click here.

For my review of Taika Waititi’s Thor: Ragnarok, click here.

For my review of Anthony and Joe Russo’s Avengers: Infinity War, click here.

[Early Review] Five Feet Apart (2019)

Director: Justin Baldoni

Cast: Haley Lu Richardson, Cole Sprouse, Moises Arias, Kimberly Hebert Gregory, Parminder Nagra, Claire Forlani

Screenplay: Mikki Daughtry, Tobias Iaconis

116 mins. Rated PG-13 for thematic elements, language and suggestive material.

 

Following in the footsteps of films like A Walk to Remember and The Fault in Our Stars, Five Feet Apart is a teen romance film dealing with a whole lot more than romance. It’s basis in Cystic Fibrosis gives it a shot of something I haven’t seen in a romance film, and unfortunately, that was the only thing unique about it.

Stella (Haley Lu Richardson, The Edge of Seventeen, Operation Finale) has CF, but she has a system. She knows what meds to take and when, when she needs to wear her afflovest, and exactly what she must do to remain on the list for new lungs. So when she meets Will (Cole Sprouse, The Suite Life Movie, TV’s Riverdale), another CF patient with no solid drug regimen, no plans to get better, and no hope, it drives her crazy. She insists that he let her help organize his drug cart in an effort to help him stay healthy, and in doing so, the two begin a bond that becomes something more powerful, but they cannot move forward together without breaking an important guideline for CF patients: that they cannot be closer than six feet to avoid cross-contaminating each other.

I found the Cystic Fibrosis layer of Stella to be incredibly interesting and powerful. I’ll be someone who admits to not know much about the ailment, so I was interested and captivated by her strength in fighting for each day. It’s nice that the filmmakers worked alongside the Claire’s Place Foundation to get all the details right about CF. I also found it interesting how she evolved as a character by her relationship with Will. Until the end. There’s some events and scenes surrounding her arc in the latter half of the film that I didn’t believe. There’s a lot about the third act that completely falls apart, in fact.

I think that Richardson and Sprouse had nice enough chemistry but nothing that really stuck. Their romantic relationship was one of the more boring elements of the film. It hits all the familiar beats of any romantic entanglements. At the end of the film, some bad decisions are made in the name of love, and I didn’t find myself seeing the point in the bad decisions. Where the relationship ends up at the end of the film is also something that seemed like exactly where I expected it to go. All in all, I was completely uninterested in the central crux of the story.

Five Feet Apart is rather forgettable as a love story but the CF stuff is interesting and insightful. Everything outside the romance is engaging at least. It’s just a problem that the film is a love story. Save your money on this one; there are better films at your cinema.

 

2/5

-Kyle A. Goethe

The Kid Who Would Be King (2019)

Director: Joe Cornish

Cast: Louis Ashbourne Serkis, Denise Gough, Dean Chaumoo, Tom Taylor, Rebecca Ferguson, Patrick Stewart

Screenplay: Joe Cornish

120 mins. Rated PG for fantasy action violence, scary images, thematic elements including some bullying, and language.

 

The Kid Who Would Be King had some pretty bad marketing. It felt too silly and too cliche, and perhaps the finished film is, but the film’s marketing did not sell it well. Word of mouth from reviewers is the only reason I went to see it, and I found it to be much better than expected even if it suffers from several issues that plague these kinds of fantasy films.

Alex (Louis Ashbourne Serkis, Alice Through the Looking Glass, Mowgli: Legend of the Jungle) isn’t a popular kid by any means. He regularly saves his friend Bedders (Dean Chaumoo) from the clutches of bully Lance (Tom Taylor, The Dark Tower, TV’s Doctor Foster). But when he discovers a sword amid the rubble of a construction site and retrieves it, he is enlisted by the mythical sorcerer Merlin to stop the evil witch Morgana (Rebecca Ferguson, Mission: Impossible – Rogue Nation, Life) from taking over the world and plunging it into darkness. To stop her, he will need to master the sword and enlist some knights to assist him.

There’s some good in The Kid Who Would Be King, and there’s some notable flaws as well. First of all, I think Alex is a well-written character and Louis Ashbourne Serkis does a fine job of holding up the film. He’s realistic and imaginative and very reminiscent of heroic characters. He’s a flawed character with room to grow.

Dean Chaumoo’s Bedders and Tom Taylor’s Lance are rather simple one-note characters. Bedders is there for the jokes and Lance doesn’t display true believable growth. I also found Morgana to be a very bland villain. Rebecca Ferguson gets really nothing to do in the role.

The writing is smart but some of the jokes fall completely flat and the film gets a little lost in search of purpose. This is especially apparent with the finale, where it feels like the film should have ended about 30 minutes earlier. That’s where the film lost me. I was unimpressed with the poor plotting and repetitive action.

The Kid Who Would Be King could have been better. I enjoyed bits and pieces of the narrative but overall I didn’t feel like it was really going anywhere interesting. Where it did go was uninteresting. I admire the film and I think it has an audience out there. I would be interested to see where a sequel ends up taking it, but this first film felt like I’d seen it before many times.

 

2.5/5

-Kyle A. Goethe

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