Guy Ritchie must have been so excited with the idea of adapting a classic tale of knights and kings that he did not know exactly what to do when he finally laid his hands on it. King Arthur: Legend of the Sword was an origin story of some sort, but the audience does not even know where to begin amidst all its chaotic storytelling.
Cool as cool can get, director Guy Ritchie injects his trademark renegade filmmaking – we see the Arthurian legend come to life in style: the swift edits, rugged camera movements, even involving drone shots are all there. These are superimposed on pale CGI landscapes and gargantuan elements that call to mind Zack Snyder’s 300. All try to serve the purpose of telling Arthur’s ascent to throne. Charlie Hunnam’s youthful take on the legendary character involves a lot of physicality and angst. It would have served him well had it not been for the complementary and redundant nightmares his character has been having. His character is on stasis for too long. His triumph later on proves unrewarding.
Then there is Jude Law’s Vortigern, King Arthur’s scheming uncle. Vortigern’s thirst for power is relentless, which goes hand-in-hand with Law’s restrained and well-realized acting. No matter how much of a thespian Jude Law is, the menace falls flat for a villain that eludes no further depth.
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What saves this film from utter disappointment is its humor. The film fortunately manages to swerve towards comedy every now and then to appease the drag and angst. Daniel Pemberton’s bombastic score is another strong point. His was probably one of the most creative film scores (imploring a welcoming use of breath sounds – like its track, Growing Up Londinium) I have heard in a long time. It was well-used, and a bit overpowering. It was fresh, nevertheless.
King Arthur: Legend of the Sword hints of a sequel at the end. This writer can only look forward to Guy Ritchie’s departure from this would-be series while early. His fans, myself included, are looking forward to seeing him back in his true form – with gun-wielding, stylish-clothed, and homoerotic masculinity set against some underground criminal world that seem anachronistic to this adaptation.
