Film Review: The King of Kings (萬王之王) (2025) - USA / South Korea
Reviewed by Andrew Chan (Film Critic Circle of Australia)
I rated it 8/10
Rating: ★★★★
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A Gentle Giant of Faith, Seen Through a Child's Eyes - Lets begin by noting the sheer audacity. To take the greatest story ever told, rendered in stained glass and fresco for millennia, and entrust it to the fluid, boundless realm of animation? And then, to frame it not through apostles or saints, but through the eyes of Charles Dickens, telling it to his wide-eyed son? “The King of Kings” - Angel Studios' 2025 animated marvel, is audacious indeed. And for the most part, this gentle giant of a film succeeds, earning its rating not through bombast, but through sincere warmth and a uniquely accessible perspective.
The masterstroke, the beating heart of Seong-ho Jang's vision, lies in that framing device, inspired by Dickens' own “The Life of Our Lord”. We are not thrust immediately onto the dusty roads of Galilee. Instead, we find ourselves in the intimate, firelit warmth of a Victorian study. Kenneth Branagh, his voice a resonant blend of poetic grace and paternal tenderness, is Charles Dickens. He isn't just narrating; he's weaving a spell for his son Walter (a perfectly cast Roman Griffin Davis). And then, magic happens: young Walter steps into the story. This "story-within-a-story" isn't mere gimmickry; it's genius. Walter becomes our surrogate, a peer encountering miracles and parables with fresh wonder. Through his eyes, the Sermon on the Mount isn't distant theology; it's a gathering he might stumble upon in a hidden glade. The calming of the storm feels viscerally real, the terror and awe washing over us because it washes over him. This perspective makes the ancient tale feel startlingly immediate, particularly potent for younger viewers discovering it for the first time.
Visually, Jang, a veteran effects artist, paints with light and texture. The film is often stunning. Backgrounds shimmer with painterly detail – the sun-baked stones of Jerusalem, the serene expanse of the Sea of Galilee rendered with breathtaking depth. Lighting is a character itself, casting dramatic shadows in Herod's palace or bathing scenes in ethereal celestial glows. A sequence employing a "sketch-like" aesthetic feels like watching the Bible illustrated live, a beautiful meta-commentary on storytelling itself. The scene of Jesus walking on water is a true showstopper, the interplay of moonlight, churning waves, and impossible footsteps creating a moment of pure cinematic awe.
If the film stumbles slightly, it's in the character animation. While the environments are masterworks, the human figures sometimes feel... less alive. There's a curious stiffness, a touch of the "under-animated," particularly in crowd scenes. Some figures, Jesus included, occasionally veer towards a "bobblehead" appearance – expressive faces atop bodies lacking the same fluid grace. It’s not a fatal flaw, but it creates a slight dissonance against the otherwise lush world.
Where the film truly finds its voice, quite literally, is in its astonishing cast. Oscar Isaac brings a “gentle strength" to Jesus that is profoundly moving. There's no booming pronouncements here, but a quiet authority, a profound kindness radiating from Isaac's nuanced performance. He feels human, accessible, yet undeniably divine. Branagh, however, is the anchor. His Dickens is more than narrator; he's the compassionate guide, the loving father translating the cosmic into the comprehensible. His voice grounds the entire epic in relatable emotion. Mark Hamill relishes the villainy of King Herod with delicious theatricality, while Pierce Brosnan imbues Pontius Pilate with a world-weary gravitas and conflicted conscience. Uma Thurman adds further star power in a supporting role.
“The King of Kings” is a significant achievement. It doesn't aim to replace the great cinematic Christs of the past, but to open a new door, particularly for young hearts and minds. Its Dickensian frame is inspired, its emotional core is sincere and resonant, and its visual ambition, despite minor stumbles, often soars. Oscar Isaac’s soulful Jesus and Kenneth Branagh’s warm narration are gifts. It’s a film that understands the power of story, passed from one generation to the next, and the profound magic that happens when a child steps into the pages. A landmark of faith-based animation, offering a fresh and moving pathway to an ancient story. It may not convert the skeptics of its animation style, but for those seeking an introduction or a heartfelt reaffirmation, it shines with a gentle, powerful light. (Neo, 2026)
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