Respond to these rapid questions in our King Arthur Legend Of The Sword quiz and we will tell you which King Arthur Legend Of The Sword character you are. Play it now.
When you’re in the mood for Guy Ritchie, he can be that fun friend whose texts you don’t always respond to because his energy level is always turned up to 11, and even when you’re not, he can still wear you out. Among his most entertaining works are lad mag confections from the 1990s, which feature a cast of amusing, well-dressed, hardboiled men (and a few women) who bust each other’s chops when they aren’t banding together to steal a valuable item. They’re the kinds of films that you forget exist until you come across them and end up watching the entire thing again because the tone is just right—edgy but lighthearted—and the movie never pretends that watching it will make you a better person at any point during the course of the film. In Ritchie’s films, such as “Lock, Stock, and Two Smoking Barrels,” his two Sherlock Holmes films, “Snatch,” the bizarre self-help action film “Revolver,” and 2015’s unexpectedly marvelous “The Man from U.N.C.L.E.,” there are savory treats presented in the most stylish boxes imaginable.
However, there are times when Ritchie makes his own style the star of the film, overshadowing the actors and the story, which is unfortunate because neither is particularly compelling. The result is an oxymoron: a frenetic slog, to put it another way. The same fate befalls “King Arthur: Legend of the Sword,” a purposefully anachronistic riff on the legend starring Charlie Hunnam and directed by Christopher Nolan. In this version, Arthur is portrayed as a working-class hero with a completely contemporary sense of style. His father and mother were murdered by his uncle Vortigern, and he was raised in a brothel as a result of this (Jude Law). A supernatural debt to the Lady of the Lake is owed by Vortigern, an unworthy King of England and a pampered sadist who is encircled by a mass of CGI tentacles encircling three women, one plump and the others slender and curvy.
Ritchie and his cowriters, Lionel Wigram and Joby Harold, aren’t concerned with historical accuracy because the historical Arthur was a mystery to begin with, and they’re primarily interested in having a good time with this project. It is acknowledged that Arthur’s childhood trauma is significant (he keeps re-experiencing it in nightmare form, much like Bruce Wayne remembering his own parents’ murder by a mugging), but the film ultimately treats it primarily as the centerpiece of a standard-issue “hero’s journey,” one that borrows heavily from films such as “Star Wars,” “The Matrix,” and “The Lord Of The Rings.” We, along with him, know that he is truly The One when he pulls the sword from the stone; when he grips the sword with both hands and swings it, the earth trembles and the camera begins to whirl in circles around and around CGI Charlie Hunnam and his adversaries, much like a video game with 3-D graphics.
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This Arthur is dressed in what appears to be a brown leather bomber jacket, has a haircut reminiscent of a 2016 movie star, addresses everyone as “mate,” and makes a big deal about not wanting to get involved in politics, let alone embrace his destiny. That is, until circumstances force him to assemble a ragtag group of hyper-competent misfit outsiders and depose the government in heist-movie fashion, treating every skirmish and siege as if it were another vault that the “Snatch” gang was hoping to break into and steal something. The future Knights of the Round Table are just as contemporary as the present day Knights of the Round Table. Sir George, also known as Kung Fu George, is a martial arts instructor who is played by Hong Kong-born actor Tom Wu; Sir Bedivere is a Moor who is played by Beninese movie star Djimon Hounsou; and Sir Bedivere is a Moor who is played by Beninese actor Djimon Hounsou. In addition, the characters played by the Anglo actors are given a smattering of Dickensian chimney soot to enhance their rough-and-ready appearance. Goosefat Bill Wilson is the nickname given to the future Sir William (Aiden Gillen), master of the longbow.
King Arthur Legend Of The Sword Quiz
It’s all very appealing to me on paper—it reminds me of Martin Scorsese’s “The Last Temptation of Christ,” which populated ancient Jerusalem with New Yorkers, Midwesterners, and Brits who spoke in their native accents and used modern jargon, then chopped and diced the action into music video beats and scored the whole thing with Peter Gabriel’s chants and synth beats. A revisionist approach is well-suited to Ritchie’s sense of style. Even when the characters are being beaten, tortured, or executed, he remains as slick and easygoing as a rock and roller showman can be. And because the entire film is so knowingly absurd—in addition to the slow-motion, high-octane swordfights, there are giant CGI snakes, rats, and wolves, as well as Godzilla-sized Indian elephants—the whole thing feels like a lark. It’s even possible to see Hunnam, who isn’t known for his scalawag charm, channeling the devil-may-care jerk incarnation of Robin Hood played by Errol Flynn in the film Robin Hood. Astrid Bergès-portrayal Frisbey’s of Guinevere, a witch whose eyes turn black when she summons dark forces, is a unique take on the character, though it would’ve been nice if director Guy Ritchie had given her the opportunity to crack a few jokes with the other characters like they did with the boys.
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No, the real problem is that the movie is completely unmodulated from beginning to end from beginning to end. It never stops in the same way that a cocaine addict who wants to tell you his life story before closing time never stops telling you his life story. Despite the fact that Michael Bay has frequently been accused of turning in feature-length motion pictures that are so over-edited that they feel like trailers for themselves, I don’t believe Bay has ever produced a film that is as frantically, pointlessly, and tediously busy as “King Arthur: Legend of the Sword.” The film, which is two hours long, is not content with doing that tried and true Guy Ritchie story-about-a-story thing in every other scene of the picture—you know, the bit where a character says to an audience, “And then I sez to him,” and the movie cuts to the same character five days later saying, “Put down the money, mate!”—it does it constantly for two hours, dicing dialogue, performances, and story points into microscopic narrative particles that disintegr
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A certain amount of respect must be expressed for the skill that is required to tell a story in this manner. It’s not possible to make a six-hour film and then cut it down to two hours later. If you want every piece, no matter how small or large, to fit with every other piece when the whole narrative is stitched together, you have to think about how each piece will fit with every other piece. This strategy has a downside in that it does not allow for any single moment to truly live and breathe, and it is during these moments that we truly get to know a character and care about what happens to them. The whooshing, tilting, diving camerawork, ominous “whoosh” and “boom” noises on the soundtrack, and other signifiers of awesomeness serve to expedite the emotional heavy lifting that might otherwise be accomplished through acting, writing, and careful direction.
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There’s so much narrative and visual movement, so much fast cutting, so much loud music, and so many rapid shifts in time and place, that on the rare occasions when the movie slows down and allows two characters to speak to each other in relative quiet and at length, it feels as if something has gone wrong with the projection. The film is rated PG-13 for language and violence. Ritchie keeps rushing us along for the entire two hours, as if he wants to make absolutely certain that we never have time to absorb any of the characters or moments, let alone revel in the glorious, cheeky ridiculousness of the entire experience. The entire film is an information delivery device with high-end production values, and it is constantly confused with the point itself in the process of getting to the point. In this version of the legend of King Arthur, the story is told by a professional auctioneer. I’m not convinced.
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