Rey Arturo: La leyenda de Excálibur

De manera similar a la película con Clive Owen, esta versión del Rey Arturo tiene muy poco en común con la famosa leyenda que tanto me gusta: el nombre Excalibur, Percival, la referencia a la mesa redonda... Para mí, todas o casi todas las películas de Guy Ritchie tienen tres estrellas, y este caso no es una excepción. Su estilo no me gusta demasiado, a veces destaca con una toma efectista, una idea creativa o un diálogo gracioso, pero eso es todo. El principal fallo siempre está en el caótico, confuso y sin terminar guion. En el caso de Arturo, esto es aún peor, especialmente en la segunda mitad, cuando ya me empezaba a aburrir y deseaba que todo terminara rápido. Faltaba mucho, en la leyenda artúrica, Merlin no solo puede hablar por hablar, sino que debe estar involucrado en la trama en mayor medida; falta la femme fatale Morgana o Morgause, Ritchie podría haberse inspirado en la serie y buscar a Eva Green, quien le daría al argumento el toque adecuado. Con todo el respeto a Astrid, no es suficiente ser la única mujer en la película. Y el hecho de que nos falte Lancelot y en lugar de otros conocidos caballeros o personajes estemos viendo a famosos futbolistas, es un absurdo desorden que no funciona. Ojalá algún director de primera categoría se atreviera con este rico material, sin inventar novedades, siguiendo la leyenda principal pero añadiendo aquí y allá alguna idea o invención propia, y sobre todo eligiendo a los actores adecuados. Arturo, Merlin, Guinevere, Lancelot, Morgana, Morgause y Percival deben conquistar al espectador y no dejarle indiferente o directamente no estar. (09.09.2017)

Un cuento de fantasía oscura a través de los ojos de un loco director con talento, suelto de todas las cadenas. No es fácil seguir sus reglas de juego, pero cuando lo consiga, le espera una delicada experiencia anárquica. Ruidosa, llena de testosterona, furiosa. No me aclimaté hasta la segunda parte y disfruté del final a lo grande. Por lo tanto, voy a verla por segunda vez, ya preparado y «ajustado» correctamente. Positivos: Charlie Hunnam es bueno, ¡pero Jude Law es el rey aquí! La valentía y la temeridad de Ritchie, cumpliendo el sueño de la infancia a su manera (tómalo o déjalo). Banda sonora brutalmente efectiva: la mejor escena de la persecución por la ciudad recuerda (incluso en el contexto del acto) «Mombasa» de Origen. Y, paradójicamente, todas las escenas más lentas, fluidas y épicas. Contras: A menudo innecesariamente rápido en contar una historia que supuestamente deber ser un drama de proporciones de Shakespeare. Lo que no da cabida a sumergirse por completo en ella, y se queda al nivel de experiencia de un clip de atracción. Y demasiado acortado en algunas escenas que de otro modo podrían estar moviendo la historia. CGI más débil, simplemente no había dinero para WETU o ILM, ya por sí es una producción muy arriesgada. (11.05.2017)

I have to give it to Guy Ritchie – his movies have style. Whatever he films ends up fantastic. But I can’t shake the feeling that some of the scenes tend to go over the top. The beginning was amazing. The very first scene was gripping, it tells Arthur’s story since early childhood until the age where the rest of the story begins. It’s original, quick, entertaining… for about an hour. Then the ideas thin out and the whole thing gets repetitive. That’s when it loses its magic and becomes a classic Guy Ritchie movie. I can’t say he’s not being inventive, but my initial excitement has quickly grown cold. And even though I admire the effort to shoot a King Arthur fantasy from a different angle, I still couldn’t piece the story together and all I could do was to watch some CGI hocus pocus. (02.08.2018)

I emphatically recommend that this film not be seen by people suffering from ophidiophobia (because there are a lot of snakes in it, including an incredibly big one) or by video-game designer Dan Vávra (because he might not be able to handle such a politically correct version of medieval England with black and Chinese people and strong female characters). Other gamers, however, might be satisfied with the film, as the hyperkinetic (in other words, terribly chaotic) and almost entirely CGI action scenes, especially the last one, look like an in-game video cut out of an action movie. King Arthur is generally reminiscent of a number of pop-culture products: a music video for an English folk song, a kung-fu movie, a bad 1980s fantasy flick, a good fantasy flick from the aughts, a Monty Python sketch (“This is a table. You sit at it.”), and so on. Due to the many sources of inspiration, the unfocused narrative (even when that lack of focus is not justified by the narrating character’s poor memory), and the constant flitting between ridiculing Arthurian legends and their ultracool, self-absorbed and humourless modernisation for today’s nerds, the film is a terrible, eclectic mess. It doesn’t help much that Guy Ritchie attempted to give it some sort of order by approaching the film as another one of his London gangster flicks. Though the story is not set in the present, but in an alternate Middle Ages with wizards, giant rats and a sword that performs as a weapon of mass destruction, it is otherwise a tediously manneristic variation on something that’s been seen before. We have here a group of nobodies speaking cockney English who act first and think later, whose plan to outwit their opponents goes fatally wrong, a fidgety narrative with a timeline that’s all over the map, a psychopathic villain who does very nasty things to his victims (which, however, will please fans of Reservoir Dogs), and a chase scene filmed partly with GoPro cameras. Ritchie was able to use all of these things more effectively in his previous films, which also managed to get by with a pathos-ridden origin story based on the protagonist frequently having nightmares and fainting. Whereas Tarantino is maturing, Ritchie refuses to grow up, making the same movie again and again, and despite occasional flashes of refreshing creative invention, it mostly feels rather forced in this case. 50% (12.05.2017)

My Lord in heaven! A dark fantasy in a ball-busting visual barrage, where everything is so horribly over the top that I fully understand the viewers who sent it down the drain. This film takes all sorts of genre motifs and glues them onto a gritty story with the amount of gusto the director last had seventeen years ago. I was still a little hesitant at the intro with the gigantic elephants, but then in a brilliant cut Arthur grows up and I knew it was home run. This was because we got Ritchie's beloved staircase run with Pemberton's punchy underscore, and it doesn't lag during the special effects orgy when everyone knew they could break free from their chains, including the actors. Jude Law plays the villain in the same style as in The Young Pope, and it's an absolutely decadent blockbuster. And Charlie Hunnam? Even in Pacific Rim, I thought he had suspicious charisma for a sweet 20-something girl idol, and here he's taking advantage of it in the best possible way. I was pretty hesitant about going to the movie theater because the trailer campaign was very bland, but seeing that with a budget of 175 million, it has grossed (2 months after the premiere) about 145 million worldwide, it's clear to me that someone at Warner had cardinally screwed up. The best fantasy since The Lord of the Rings. (22.07.2017)