https://www.youtube.com/watch?v=T0xbY0Hu6Po" title="The King of Kings Trailer
A visual masterpiece with a fresh take on the greatest story ever told.
About the Film
The King of Kings has arrived on our screens, marking a significant moment in the thriving landscape of faith-based cinema. In an unprecedented twist, audiences can now choose from three different gospel adaptations simultaneously. Joining the ranks are The Chosen: The Last Supper and Chris Tomlin’s The Last Supper. However, it’s Angel Studio’s animated feature, The King of Kings, that truly captivates the imagination. Eagerly anticipated, this film may not entirely fulfill those **daunting expectations** but still contributes something beautiful and unique during this bustling Easter season—a refreshing interpretation of the most iconic story ever told.
The King of Kings carves out a distinct identity within the genre, not merely as an animated film but through its **clever storytelling technique**. Taking cues from The Princess Bride, the narrative unfolds with Charles Dickens narrating the Gospel story to his young son, Walter. Drawing inspiration from Dickens’ own posthumously published work The Life of Our Lord, the film encapsulates the spirit behind Dickens’ heartfelt desire to impart the significance of Jesus to his children: “My dear children, I want you to know something about the History of Jesus Christ. For everybody ought to know about Him.” Dickens, a masterful storyteller, serves as the ideal conduit to convey the powerful message of Christ.
The film boasts a **star-studded ensemble cast**, arguably the most impressive assembly of talent in a faith-based film to date. This casting choice adds a level of credibility to the film that may attract even the most skeptical audiences. While performances vary, **notable standouts** include Kenneth Branagh, who effectively embodies the exuberance of Dickens, while Oscar Isaac’s noticeably subdued portrayal of Jesus lacks the spark one might hope for.
Despite the impressive vocal talent, it is the **visuals** that truly etch themselves into memory. The artistry is simply breathtaking; nearly every frame is a kaleidoscope of color and imagination. Standout moments, such as the calling of the first disciples and Jesus’ miraculous walk on water, will linger long after the credits roll. Additionally, sequences depicting Moses parting the Red Sea and Adam and Eve in the Garden of Eden are executed with a stylish, hand-drawn flair that adds layers of depth to the narrative.
The film excels in **visual storytelling**, particularly during its most powerful scene—the crucifixion. In a dreamlike sequence, Walter plunges into an ocean abyss, and Jesus, in an act of profound love, embraces him before swapping their fates. Walter ascends to the surface while Jesus descends, transitioning poignantly back to the image of the cross. This captivating visual metaphor encapsulates the essence of the Gospel, showcasing The King of Kings at its artistic zenith.
Yet, while the visuals dazzle, the story occasionally feels constrained by its straightforward approach. Despite the rich artistry, the narrative often devolves into a **paint-by-numbers depiction**, primarily following the Gospel of Luke. Many viewers, particularly within the Christian community, may not mind this thorough fidelity to scripture. However, the rigid episodic structure can disrupt the narrative flow, resulting in an experience that feels somewhat disjointed rather than seamlessly cohesive.
The **father-son dynamic** serves as a wholesome narrative device, providing a platform for parents to engage in meaningful conversations about faith. While the dialogue often pulls directly from scripture, it may lack the relatable language necessary for younger audiences. This can lead to moments of confusion, such as when Dickens mentions “Satan disguised himself as a serpent,” prompting his son to wonder about the serpent without understanding who Satan is. Similarly, complex terms like “sin” and the context of “adultery” are glossed over, missing an opportunity to foster understanding.
Nonetheless, the film remains engaging and beneficial. Young viewers will still grasp the core essence of the story through the eyes of Walter, who heroically participates in moments like offering his loaves and fish before the miraculous feeding of the 5,000. It’s in these instances that the biblical narrative truly comes to life.
Charles Dickens is celebrated for his remarkable literary style, yet the prose in The Life of Our Lord is intentionally straightforward. Perhaps he felt that this story, meant for children, required no embellishment. While some viewers may yearn for a more creative adaptation suitable for its intended audience, there exists profound power in presenting the biblical tale through stunning animation. Dickens would read his adapted Gospel narrative to his children annually; similarly, The King of Kings could inspire a cherished tradition for today’s families.
On the Surface
For Consideration
On the Surface—(Profanity, Sexual content, violence, etc.).
Language: None.
Violence: A Roman soldier has his ear cut off, but the injury is not graphically displayed. Jesus undergoes whipping and crucifixion, though these scenes are handled delicately, focusing instead on the aftermath.
Sexuality: The Garden of Eden sequence is illustrated with artistic nuance, featuring Adam and Eve in a stylized manner where their nudity is discreetly concealed.
Beneath The Surface
Engage The Film
Participating in The Greatest Story Ever Told
At its core, the film conveys the theme of the **Good News** of the Gospel, transforming an abstract message into a deeply personal journey. Through the lens of Dickens and Walter, both characters become part of the story, discovering the transformative power of forgiveness. Their journey begins with a father-son clash when Charles reprimands Walter during his reading of A Christmas Carol, encapsulating the theme of “actions have consequences.” However, as they delve into the life of Jesus, the revelation of grace takes on profound significance, illuminating who bears the weight of those consequences.
