The Animated Jesus Film: A Heavy-Handed Undertone
The King of Kings, marketed as the first biblically-themed animated feature in theaters since DreamWorks’ classic The Prince of Egypt, draws an ambitious parallel that ultimately falls flat. This latest release from Angel Studios, helmed by director Jang Seong-ho, attempts to weave Charles Dickens’ 19th-century adaptation of Jesus’ life into a family-friendly narrative. However, while the aspiration is commendable, the execution leaves much to be desired.
A Flat Narrative Framework
The film opens with Charles Dickens (voiced by Kenneth Branagh), narrating a bedtime story to his son Walter (Roman Griffin Davis), a sprightly child fascinated by King Arthur and his legendary knights. Dickens’ tale presents Jesus as the ultimate king—one who wields influence without a sword. Yet, it’s challenging to embrace the narrative when the character designs resemble templates from low-quality CGI animations, with their large heads and image-perfect skin. This aesthetic choice detracts from the storytelling’s potential depth.
Attempts at Visual Engagement: A Missed Opportunity
Several attempts to use visual effects create dramatic backdrops—think tempestuous storms and menacing gusts of wind—but lack the artistic vigor reminiscent of earlier animated dramas. Moments of graphic animation, reminiscent of classic book illustrations, appear briefly to elucidate key biblical passages such as Passover and the Exodus. However, these segments are ephemeral and fail to elevate the overall visual experience of the film.
A Serious Tone that Clashes with Audience Expectations
Through its narrative, The King of Kings adopts a solemnity that may disengage younger viewers looking for lighthearted entertainment. The light comedic antics of Walter and his playful cat, Willa, provide a minor respite; yet, the film’s predominant theme is drenched in seriousness culminating in Jesus’ crucifixion. While the film consciously avoids graphic violence—blurring the image of Christ’s wounds—this choice does little to remove the film from its heavy-handed message.
"Messaging precedes entertainment or artistic value here," a pattern that hamstrings what could otherwise be a vibrant retelling.
In Comparison: Contextual Insights
When placing The King of Kings in the broader context of faith-based animation, it pales compared to films like The Star (2017), which succeeded by incorporating humor and relatable characters into its narrative tapestry. In contrast, The King of Kings opts for a more earnest tone, which may resonate with a select audience but risks alienating others who seek more relatable or engaging storytelling.
Despite boasting a voice cast including notable actors like Pierce Brosnan, whose presence is puzzling given his limited dialogue, the potential for a richer experience is squandered.
A Glimpse of Complexity Amidst Simplicity
In a fleeting moment, Dickens’ character reflects on the danger of using scripture as a means of manipulation, suggesting deeper themes that, if explored, could elevate the film beyond its current limitations. Unfortunately, this introspection is interrupted by his wife (Uma Thurman) bearing cookies, and the narrative glides back into a more straightforward approach. What might a version of this film look like that delves into more complex themes? As it stands, The King of Kings is a serviceable retelling, yet uninspired; a familiar story wrapped in an approach that feels like a missed opportunity.
Closing Thoughts
In conclusion, The King of Kings strives to impart a lasting message through a vehicle intended for family viewing. Yet, the absence of dynamic storytelling, enchanting visuals, and engaging humor makes this animated venture feel rigid and overly didactic. While it holds value for specific audiences, it ultimately risks falling into the category of forgettable biblical adaptations.
For more reviews and insights on animated films, check out Variety’s report on The King of Kings.
