I expected many things from The Kid Who Would Be King, Joe Cornish‘s long-awaited follow-up to Attack the Block, but I certainly didn’t think a vibrant re-imagining of Arthurian lore would function like such a movie of the moment. In Cornish‘s blend of elementary school comedy and medieval epic, the world has slipped into authoritarian-induced chaos, and only a return to the quintessential legends of yesteryear can help us solve it. Sounds a little familiar, right?
Yet these legends aren’t quite like you remember them – the fate of Britain (and possibly the world) ultimately lies in the hands of a misfit clan of teenagers. They’re not from royal families or noble bloodlines, but they might just have what it takes to get the job done. If your brain works like mine, you’re probably instantly thinking of a number of recent titles that twist around classic hero’s journey tropes – the new Star Wars films, Blade Runner 2049, etc.
And then there’s Spider-Man: Into the Spider-Verse, another kid-centric title that empowers teenagers to change the world by presenting a heroic realm of infinite possibilities. This is clearly not a new phenomenon, but Cornish somehow carves out his own niche in the budding genre of quietly revisionist popular entertainment.
So even if the director’s second feature isn’t likely to create the seismic industry impact of Miles Morales’ origin story, it’s a surprisingly epic and spirited film, driven by an adventurous spirit and enough clever fun to keep things fresh during a sometimes long-winded ride.
The Once And Future King
In the first hint that we might not be in regular King Arthur territory, Cornish introduces us to Alexander Elliott (Louis Ashbourne Serkis, son of mo-cap legend Andy Serkis), a British schoolboy still struggling with the lack of a father figure in his life, despite his mother’s (Denise Gough) best attempts to reach him. Alex and best friend Bedders (Dean Chaumoo) are at the bottom of their school’s social ladder, which means they’re the victim of relentless bullying at the hands of Lance (Tom Taylor) and Kaye (Rhianna Dorris).
In a late-night attempt to escape their bullies, Alex and Bedders stumble on something that could change everything for them: a sword in a stone – hidden at a construction site, no less. Alex lifts the sword without breaking a sweat, but only hours later does he realize that something might be off. When Alex and Bedders look up the inscription on the sword, it appears to have a connection to Arthurian lore – an odd coincidence or a myth brought to life? Things get even stranger when a new kid arrives at school, eventually revealing himself to be a disguised version of Merlin the Wizard (Angus Imrie, played by the wonderful Patrick Stewart in his adult form).
Merlin’s message? In the underworld, Morgana (Rebecca Ferguson), the half-sister of King Arthur and an ancient villain with daunting powers, is preparing to rise and enslave Britain. Having possessed the power to remove the sword, the fight against Morgana now depends upon Alex’s ability to raise an army and follow the Chivalric Code of nobility and honor. His allies? Bedders, of course, but it looks like Lance and Kaye may be his only real options to help build the round table.
Surprising Grandeur In Clever, Witty Tale
What ensues is a classic tale of magic and monsters – a grand quest of mythical proportions, leading to a brave and dangerous trek across the British Isles. If you’re thinking to yourself, “Wait, that’s not what the trailer sold,” you would be completely correct. For whatever reason, Fox chose to emphasize the battle-centric third act, skipping over a middle section that feels surprisingly epic in scope. Alex and Bedders aren’t venturing across Middle-Earth, but with Bill Pope‘s gorgeous cinematography creating a sun-kissed, delightfully misty texture, the film still plays in a major key.
Why this expansive scope has been hidden from audiences, I can’t really say. Maybe it’s because the marketing wizards are trying to preserve the narrative that this is an all-ages, PG-rated kids’ film, which it most certainly is. But part of the appeal of The Kid Who Would Be King is its combination of a kid-friendly, teen-driven, often impressively funny narrative with a weighty saga that poses a real sense of danger to Alex and his friends.
Did I think the film would end with Morgana’s demonic soldiers chopping down a bunch of schoolchildren? Absolutely not. At the same time, the film possesses a childlike energy, driven by the excitement and and enthusiasm that comes when young kids convince themselves that they’re the only barrier between civilization and evil forces. Only this time it’s for real.
Deft Social Commentary & A Playful Hero’s Journey Twist
Of course, this isn’t a specifically youthful adventure just for the sake of it. Allowing the virtues and powers of nobility to trickle down to middle school students plays directly into Cornish‘s directorial hand, which frames young ingenuity as the only thing standing between the world and chaos. In the opening moments, the film almost seems to exist in a cracked-mirror dystopia, where newspapers cut the pretense and just run headlines like “SADNESS” and “MISERY.”
That level of bluntness could seem foolish or misguided, but at a time when kids and other young people have succeeded in pushing for real, tangible political change, there’s something poignant about a story that speaks directly to its audience in such an empowering way.
Naturally, these political jabs also connect to Cornish‘s reinvention and ultimate mockery of the hero’s journey, which suggests a collective approach and a move away from ideas of destiny and familial connections. And in an especially wise choice, this young hero believes in his own unique power. Much like Ryan Gosling‘s doomed Officer K in Blade Runner 2049, Alex believes in the traditions of the classical journey – only for that to turn on him in the end. Eventually, Cornish allows these kids to pave a smarter path forward, one where a reliance on each other is more important than any bloodline.
The Kid Who Would Be King: Conclusion
With all this talk of shifting tropes and not-so-subtle messaging, it’s easy for the pure entertainment value of The Kid Who Would Be King to be forgotten. Yes, the film is a touch (okay, more like 20 minutes) too long, but the occasionally meandering pace has a double purpose, giving Cornish the opportunity to let certain scenes breathe, to allow Alex and his friends to quarrel and bicker before uniting. And in the end, it leads to not just a thrilling finale of mischief and mayhem, but also an unexpected emotional poignancy.
In a particularly memorable third act encounter, Alex and company ask Stewart‘s Merlin how they can possibly win a war that keeps going, how they can keep fighting and winning each physical and metaphorical battle. Merlin’s answer? You’ll find a way – the world’s counting on you, after all. In 2019, I can’t think of a better message for kids to hear.
What did you think of The Kid Who Would Be King? Are you a fan of director Joe Cornish’s previous work? Let us know in the comments below!
The Kid Who Would Be King was released in US theaters on January 25 and will debut in UK theaters on February 15. For full international release information, click here.
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