The people who admire your strength to do so, will continue to be in your life and they will respect you more for it. I prefer it this way. Sure, it can be uncomfortable if you are like me, and you aim to please and genuinely want to make people happy. If the answer is yes, then do the work and get it done.
My dad said a lot of great things, and he has taught me a lot. If you could snap your fingers and people would know what you stand for, would you do it? You will be doing yourself a favor and people will respect you more for it. Stand for something. Stay strong. Previous Next. View Larger Image. BPetersonDesign is an independent, family-owned company in Montrose, Colorado. On the other hand, the music in this movie is brilliant.
Even the non-score anachronistic songs. Forget the term for those, but they are well-used here. King Arthur: Legend of the Sword is overall a baffling movie. But honestly, did they ever stop to think if they should do it? No, they did not. They were planning like five of these. All that big fantasy Lord of the Rings battle shit from the trailer? And in this prologue, you get a big old wallop of epic fantasy right out of a Clash of Clans commercial mixed in with your first taste of what would charitably be called a punk rock inclusiveness of fantasy elements from better movies.
How do you not love insanity that delicious? I mean the best way I can articulate this experience in analogy is to say it was like waiting outside for a taxi cab and having the yellow submarine show up floating on fucking air and full of Beatles. Like, more than four. In this movie, humans and mages a race here live together in relative harmony until Mordred Rob Knighton conjures an army to attack Camelot where Uther Pendragon Eric Bana protects England with excalibur, his baller sword.
His bling blade. His… you get the idea. There is literally a replica of the Roman Coliseum in the city… is that historical? Calling it England is the least bizarre thing happening with how this movie decides to place itself in its fantastical pseudo-history. Try not to let it bother you. Arthur grows up in a brothel, you see, plagued by nightmares about his dead mother whilst being raised by many surrogate mothers to which he feels a rather strong bond of loyalty.
Unfortunately for Arthur, HBO sent recruiters. So because Arthur just wants to keep his head down and do his larceny in peace and quiet, of course that will not happen. Yes, yes that sentence is… accurate.
You almost have to respect how little this movie cares about any of the stuff we normally take for granted in a fantasy movie, historical fantasy or otherwise. It would totally work if it managed to commit to any of the broad ingredients that went into its peculiar stew, but instead it tries to be all the things without fully inhabiting any of them. At the same time, there are many pleasant surprises… like all the teleportation.
You know what? You kinda had to be there. For one thing, Camelot is instantly iconic, looming over a giant bridge like Drangleic Castle in Dark Souls 2. For another, that Hunnam is the only person in the movie always wearing resplendent white is used to good effect in a really wonderful shot of him standing alone on a ship of other anonymous English nobodies.
In one of the early seasons, where all the costumes looked like they came from Value Village. You may wonder this plenty of times during King Arthur.
See what I mean? But why is David Beckham here? So Arthur gets the sword, passes out because its power and the memories it stirs within him are just too darn much, and then gets taunted by Vortigern for the first of a handful of times they meet which play out pretty much the same. Together, they start moving toward an inevitable showdown with Vortigern, but there are some twists and turns along the way, including a few more of those music video sequences Ritchie does so well: Arthur in the Darklands, in particular, is a standout.
As is the Lady in the Lake sequence which briefly took me out of the movie with how great it was. The big Londinium foot chase heavily featured in the trailers is also great, as are the show-stopping excalibur sequences. Though mileage is gonna vary on those. I do have to mention that all these characters, which should be colorful and memorable like in the great Guy Ritchie movies of yesteryear, fail to amount to much. That said, the banter is entertaining even if it never really rises to the levels I hoped for.
One death, in particular, is allowed to hang over the movie for a few moments before the movie does another rail and kicks into overdrive again. Either he needed to be more charming and Loki-ish, or he needed to be more sniveling and Joffrey-ish. As it is, he straddles this line in the writing and performance which manages to suggest both types of villain while embodying neither.
The magic he uses to kill Uther and take the throne visually reinforces this idea by having it turn him into this hulking evil Dark Lord that looks like something out of a Warhammer or Darksiders game. Thor did it better. Still, the symbolism and thematic potency of the ruin created by small-minded, twisted men who want desperately to be feared is not lost on me. Arthur himself is not a character that is going to win anybody over on Charlie Hunnam.
Arthur is always right, always a step ahead, always patronizing the other characters and is often smug and self-satisfied while he does it. His only challenge is himself, his own unmotivated, obligatory reluctance. He barrels over everything else, even mega-Vortigern who dispatched his daddy quite easily.
All Arthur needs is that final burst of inspiration to almost cartoonishly shrug Vortigern off while taunting him, which he does deserve, before finishing him off. The mages, as a group or species or whatever they are, never get any real development besides what the name implies: they can do the magics. So were they saving that for a sequel?
Are you as tired of that mentality as I am? I mean, is there any compelling reason why his Londinium crew even follows him? Not that we see. So while the UK has a very troubled relationship, like many western countries do, with education… the movie winds up not on the side of its surface-level tough guy from the streets schtick, and actually valuing and championing a thing like education. I had this feeling like there was some commentary being run here on aspects of British culture, particularly an obnoxious and boorish flavour of soccer hooligan football firm!
Because they look and talk gay, guys, get it? Who knows? More damning still than something potentially dog-whistley like this, though, is how King Arthur treats the scant women in it. No dog whistles there, just typical bullshit. This is the one female character and she has no name and no arc. Put another, less political way, this movie is a street magician. Its good at sleight of hand, tricking you while pretending to be doing a magic trick. Sexism, for example, is bad, especially if its unaddressed.
This stuff is bad for obvious reasons. I think we can all agree on that much. Like I said before, King Arthur has a bevy of different discrete references to other fantasy shit.
One thing that is explained, though, is excalibur. It gets its own origin story and a somewhat unique set of properties.
I can see people basically rolling with this movie only to check out when the super heightened, super stylized excalibur sequences kick in. But I loved them. Of course there is. This is some Zach Snyder shit. In fact, this movie suffers a lot from the Zach Snyder disease.
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