The King of Kings (Christian Movie Review)
A visual masterpiece with a fresh take on the greatest story ever told.
About the Film
We’ve officially reached uncharted territory in the current faith-based genre boom. Amazingly, there will be three separate gospel adaptations in theaters at the same time. Rounding out the trifecta with The Chosen: The Last Supper and the Chris Tomlin-produced The Last Supper film is Angel Studio’s animated feature, The King of Kings. It’s a film that I have been eagerly anticipating ever since it was first announced. The film may not fully live up to those lofty expectations, but even in an unusually crowded Easter season, The King of Kings has a unique and beautiful contribution to make; a visual masterpiece with a fresh take on the greatest story ever told.
The King of Kings forges a unique identity in the genre not just as an animated film, but with a creative story-within-a-story framing mechanic (a la The Princess Bride) which has Charles Dickens telling the Gospel story to his son Walter. The film is inspired by Dickens’ posthumously published The Life of Our Lord, the story of Jesus written for his own children. The King of Kings captures the heart of that book’s opening words of intent: “My dear children, I am very anxious that you should know something about the History of Jesus Christ. For everybody ought to know about Him.” As a storytelling maestro without equal, Dickens becomes a perfect mouthpiece to deliver the thrilling story of Jesus.
The movie’s star-studded cast of voice actors is arguably the biggest collection of A-List talent ever assembled for a faith-based story. It lends a degree of validity to the project (and may attract otherwise disinterested audiences). The performances themselves are somewhat mixed, with some standouts, like Kenneth Branagh perfectly channeling the boisterous enthusiasm of Charles Dickens, and others—such as Oscar Isaac’s overly subdued Jesus—delivering a less inspired showing.
While the impressive voice cast may get people into the theater, the visuals are what will leave a lasting impression. The visual artistry on display is nothing short of magnificent. Nearly every scene is bursting with vibrant colors and creativity. The calling of the first disciples (and their miraculous catch of fish) and Jesus walking on the water are particularly memorable moments. Other standout sequences, such as flashback accounts of Moses crossing the Red Sea and Adam and Eve in the Garden of Eden, effectively utilize alternative styles with a hand-drawn, sketch-like aesthetic.
The film is at its best when conveying beauty through its visual storytelling. The film’s most striking scene occurs during the crucifixion. In a dream-like sequence, Walter plunges into the depths of an ocean. Then Jesus appears, hugs him close, and swaps places, sending Walter gliding toward the surface as He sinks into the water. The scene then transitions back to a shot of the cross. It is a gorgeous visual metaphor of the Gospel message, and a showcase of King of Kings operating at its highest artistic level.
Unfortunately, the story itself doesn’t always match the creative energy of the visual presentation. If the film’s visuals paint the cinematic canvas with masterful brush strokes, then the narrative is mostly paint-by-numbers. For all the creative flourish around the edges of the tale, The King of Kings is essentially a straightforward dramatization of the Gospel of Luke. Obviously, few Christians are likely to bemoan a Bible adaptation being “too faithful to the Bible,” but rather than adapt the tale into a flowing, focused, and unified cinematic story, it is a more rigid and episodic (at times almost disjointed) trek through the Gospel outline. The result is a series of individual moments that are all beautifully animated, with some that are deeply moving and emotional, but without a clear sense of overall narrative cohesion or progression.
The film’s concept of a father conveying the Gospel to a child is a wholesome example for parents to follow with this film. The movie works best as a starting point for discussion. As a byproduct of the reverence and faithfulness to scripture, much of the dialogue is taken word for word from scripture, rather than being adapted into a language more digestible for younger audiences, and important plot elements are not always explained. For example, when Dickens says, “Satan disguised himself as a serpent,” Walter asks for an explanation of the serpent (which is already visible on screen), but not of Satan. Similarly, words like “sin” are never actually explained, and the episode of the woman caught in “adultery” is not framed in a relatable way that younger viewers can better understand.
That is not to say the narrative is not engaging or beneficial. Even young viewers should still grasp the general meaning of the tale, and Walter gives them a peer through whose eyes they can experience the story. He is frequently incorporated into the action in delightful ways, such as being the one to offer Jesus the fish and loaves before the feeding of the 5000, and it’s in these moments that the story comes to life.
Charles Dickens is renowned for his literary flourish, but The Life of Our Lord features unrecognizably plain prose. There is almost a sense that unlike his famous fictional works, he felt this story needed no embellishment. Personally, I would have appreciated a greater willingness to adapt the Gospel story for its younger audience—which is, after all, the intent of Dickens’ original work—but there is also power in a straightforward and faithful rendering of the biblical story, brought to life with beautiful animation. Charles Dickens read his adapted Gospel story to his children every year. The King of Kings film may be worthy of that annual tradition as well.
For Consideration
On the Surface—(Profanity, Sexual content, violence, etc.).
Language: None.
Violence: A Roman soldier has his ear cut off, but the wound is not shown. Jesus is whipped and crucified, but neither event happens in camera focus (although scars are later visible on his back and chest).
Sexuality: The Garden of Eden story is told in a sketchbook style aesthetic, and Adam and Eve are both naked, although their private parts are covered or concealed through shading.
Engage The Film
Participating in The Greatest Story Ever Told
As a Gospel adaptation, the film’s theme is nothing less than the Good News of the Gospel itself. What makes the film powerful is to take that theme from the abstract and make it personal. The elder and younger Dickens are active participants in the Gospel story (with some clever transitions used to emphasize that fact). By engaging in the story, they both come to learn the nature of forgiveness.
The inciting incident for the film involves Charles Dickens losing his temper at Walter for acting out during a public reading of A Christmas Carol. He wants to teach his rambunctious son the lesson that “actions have consequences.” That message takes on a whole new meaning, however, as both Charles and Walter explore the life of Jesus, and the truth about who paid the price for the consequences of their sin.
