Oscar Isaac lends his voice to the character of Jesus in the new animated film “The King of Kings,” released by Angel Studio. This film is noted as the first biblical animated feature to hit theaters since 1998’s “The Prince of Egypt.” However, comparisons to DreamWorks’ acclaimed animation may not hold up, as “The King of Kings” navigates a different path under the direction of Jang Seong-ho.
The film presents a loose adaptation of Charles Dickens’ “The Life of Our Lord,” a work originally crafted for Dickens’ own children. Dickens, played by Kenneth Branagh, shares Jesus’ story to captivate his son Walter, portrayed by Roman Griffin Davis. Walter, enamored with tales of King Arthur, sees Jesus as the ultimate king who needs no sword to lead.
The narrative unfolds with Walter witnessing miracles and significant events in Jesus’ life, blending animation with storms, strong winds, and rain. Despite these visual elements, the movie’s character designs are criticized for their lack of distinctiveness, reminiscent of generic overseas-produced CG animations.
Occasionally, the film integrates graphic animation akin to book illustrations to depict scenes like the Passover and the fall of Adam and Eve. However, this visual divergence is minimal, resulting in a film suited more for youth groups than wider audiences. At the end of the movie, a post-credits plea encourages viewers to promote the film, inviting engagement through a QR code—a strategy familiar to Angel Studio’s releases.
The movie adopts a serious tone, particularly in its portrayal of Jesus’ crucifixion, strategically avoiding graphic depictions, making it appropriate for young viewers. However, the film’s focus on spiritual messaging rather than artistic flair draws critique when compared to the emotional depth of “The Prince of Egypt.”
Unlike “The Star,” a 2017 animated film about Jesus’ birth incorporating humor to engage young viewers, “The King of Kings” remains solemn, missing an opportunity to make Jesus’ character more approachable. The voice cast features notable actors, including Pierce Brosnan, whose minimal lines leave some audience members puzzled by his involvement.
Midway through the film, a potentially deep narrative moment arises when Jesus prevents a stoning, sparking a brief reflection by Dickens on religious manipulation. Yet, this opportunity for introspection abruptly shifts to a domestic scene featuring Uma Thurman, indicating a missed chance for richer thematic exploration.
Conclusively, “The King of Kings” portrays a familiar tale with a straightforward approach, leaving its artistic aspirations unmet. Featuring Oscar Isaac as Jesus is a key highlight, yet the film remains a standard rendition of a well-trodden story, its impact limited by a lack of aesthetic innovation and deeper narrative exploration.
