It is time to recognize that something is amiss. Childish garbage like "Wonder Woman" is praised to heavens, and anything else that dares to confront the rule of the infantile comic-book sagas gets plummeted to box office death with multiple blows by hipster writers, old critic geezers, and all their followers. Until some years ago, the right-wing fascist ponderousness of Christopher Nolan (Batman trilogy) was heralded as the coming of the Second Christ, preceded by Fincher´s anarchist vein (Fight Club) that would form the new brown shirt consciousness. As fascism became a hard reality, Hollywood tent-poles regressed to kindergarten, accompanying the souls of the frightened Clinton voters.
The adult hero fighting against oppression was cast to the side,
classic pulp (John Carter, Lone Ranger) was demonized or directly
castrated (Mad Max). So it is not strange that a foreigner, somebody
from the outside, with a taste for cross-cutting and condensation, would
come to the rescue. I am not asking the reader to love Guy Ritchie´s
technique, but at least to appreciate what he has accomplished by its
use: the worn path of the origin story is cut in pieces; the visual
extravaganza is made effective anew by destroying the meaning of the
Hollywood set-piece. Do you want monsters? Here you have them, in the
very first act. Do you want a training scene? There is no time for that
nuisance, watch a modern montage that dances around the neo-classic
drivel gifted to you by the MCU sausage machine (Doctor Strange and many
others).
“King Arthur” is not without its faults. The chopped timeline segments get on your nerves as its repetition overthrows its initial welcome. Slow-fast motion is well done, but we have seen it multiple times at the Church of the Snyder. What it gets to you tough, is the way on which the working class hero, grown between prostitutes and squalor, comes to save the day from another narcissist tyrant. Deaths matter, evil teaches, and revolution finally arrives. It is necessary to grow up and take back the reigns of the kingdom, and “King Arthur” shows the road to Camelot.
IMDb Page
“King Arthur” is not without its faults. The chopped timeline segments get on your nerves as its repetition overthrows its initial welcome. Slow-fast motion is well done, but we have seen it multiple times at the Church of the Snyder. What it gets to you tough, is the way on which the working class hero, grown between prostitutes and squalor, comes to save the day from another narcissist tyrant. Deaths matter, evil teaches, and revolution finally arrives. It is necessary to grow up and take back the reigns of the kingdom, and “King Arthur” shows the road to Camelot.
IMDb Page
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