King Arthur: Legend of the Sword
Rated PG-13 for sequences of violence and action, some suggestive content and brief strong language. Two hours, 6 minutes.
Publication date: May. 12, 2017
Review by Peter Canavese
A dedicated stylist who got his start with gangster comedies like "Lock, Stock and Two Smoking Barrels" and "Snatch," Ritchie has become a go-to guy for Warner Brothers' franchise hopes, first with "Sherlock Holmes" (a hit that spawned a sequel) and then with "The Man from U.N.C.L.E." (a flop). And so we get a "King Arthur" in which the displaced royal -- cast off Moses-like after the murder of his parents -- grows up thinking he's "the bastard son of a prostitute," raised in a Londinium brothel to become a gangster with a crew. In Ritchie's neatest stylistic trick, Arthur's 20-year journey from boy to man (Charlie Hunnam, who's serviceable when he doesn't succumb to shouty mode) takes about two minutes of screen time in a super-charged montage.
That's after a prologue that promises an awful, awe-full lot of spectacle, first with a massive conflagration pitting the supernatural might of mage sorcerer Mordred against the otherwise peaceful kingdom of Arthur's dad, Uther Pendragon (Eric Bana), and then with the palace coup of villainous Vortigern (Jude Law, Ritchie's Dr. Watson), enabled by a Faustian deal with a triad of witches. Essentially, Law's doing a pared-down "Macbeth" in the margins of this movie, and almost making something of the thin scripting through his Shakespearean enthusiasms.
Mostly, though, "Legend of the Sword" feels like a rather desperate attempt -- in design, music, and even casting -- to score some of that sweet, sweet "Game of Thrones" cash. And since "Batman Begins" remains the template for origin-story reboots, "Legend of the Sword" doubles down on traumatized boys and gives Arthur martial-arts training sourced from the Far East (around the climax, Ritchie whips up some special-effects-enhanced sword fu).
There's the Sword in the Stone (Excalibur, as usual), the Lady in the Lake, a formidable and fetching female mage (Àstrid Bergès-Frisbey), and multiple bad-dream and vision-quest flashbacks as Arthur reckons with his once and future destinies, all culminating in a video-gamey showdown that wipes away the movie's best actor (Law) and replaces him with a digital demon. Ritchie's "Arthur" is more likely to be remembered for the crime-comedy touches he and co-writers Joby Harold and Lionel Wigram have stamped onto it: knockabout "Lock, Stock"-style dialogues, a campaign planned like a heist, a "safe house" (though sensible, the phrase has an anachronistic ring).
Despite some striking visuals (including sweeping use of Welsh and Scottish locations) and the occasional evocation of "Robin Hood: Prince of Thieves," this newfangled "Arthur" comes up short on grandeur or even old-fashioned matinee adventure, trading them in for cosmetic "Game of Thrones" grot.