Richard Bates Jr. is a filmmaker with a history of making some very intriguing film projects. His feature debut Excision was a sticky and disturbing comedy, one that is still spoken of within the indie genre scene today. The rest of his career (Suburban Gothic, Trash Fire and Killer Instinct) has seen him continue to straddle that line between horror and humour, sticking predominantly to the darker side. His latest film King Knight however, embraces the lighter side of life, pushing the bleaker horror aspects to one side to fully embrace the humour. Set in modern day California, King Knight joins coven-leading power couple Thorn (Matthew Gray Gubler) and Willow (Angela Sarafyan). The pair live an idyllic postcard perfect existence with each other and their fellow coven members. This oasis is shattered after revelations about Thorn’s past are revealed. Finding his life thrown into turmoil, Thorn finds himself on a path to self discovery.
At just over eighty minutes long, King Knight has to work quickly to get the story moving and so we begin with a narration from Thorn as he sets up his serendipitous life and all of the players within it. It’s a nifty trick that has been used thousands of times before, but by adding in some interesting graphic flourishes, the format feels refreshed here. The technique offers a speedy way to pump in a lot of exposition and when handled well, as it is here, it hooks the viewer into the story immediately. Thorn speaks so eloquently about his life that one can’t help but feel they are being seduced into the cult of the coven themselves. As well as bringing the audience on board and introducing everybody, this opening monologue offers some interesting insights into this version of witchcraft, the most eye-catching being Thorn referring to himself as a witch. Typically in mainstream media, a male witch is referred to as either Warlock or Wizard, but Thorn uses the more traditional feminine pronoun of Witch, a move that subtly marks him as a modern and progressively-minded person.
Once the ‘horrific’ details of Thorn’s past have been revealed, King Knight kicks things up a gear as we follow Thorn on his quest to win back the respect of his people whilst also confronting his former self. Thorn’s travels, both spiritual and physical, offer plenty of moments for comedy as he begins to unpick and stitch himself back together. It’s a journey that many of us can relate to; most of us look back at our older selves and wonder how we were ever like that. The humour embedded throughout really helps to sell Thorn’s existential quandary and you’ll find yourself in fits of giggles. A scene involving a pinecone and a rock is a suitably strange, but highly amusing moment. A stellar performance as Thorn’s bitchy over-bearing mother from Barbara Crampton also generates a lot of the laughs.
It is our lead Matthew Gray Gubler though, that keeps King Knight on track. The actor has a history of working with Richard Bates Jr. having appeared in all the director’s films, bar Killer Instinct, in some guise or another, and their long-standing relationship is apparent on-screen. A trust has clearly been formed over the years and it is this that enables Gubler to really champion Thorn and throw himself completely into the role. The Criminal Minds star has a reputation for playing kooky characters and Thorn is potentially the kookiest of them all. Those who loved his turn as Chip in the brilliant 68 Kill will find another fine performance here. Gubler commits 110% and leaves nothing on the floor, displaying a host of talents (including dancing) that the audience may not have been previously aware of. Westworld’s Angela Sarafyan makes the perfect onscreen partner for Gubler. Although her character of Willow primarily appears to bookend the piece, her presence offers a calming influence and stops King Knight from veering too far into silly territory.
Although King Knight is more sunshine heavy and carefree than some of Richard Bates Jr’s previous offerings, it still retains the quirky spirit that always makes his movies exciting. Those familiar with the director’s former work will recognise King Knight as being classically him, with the addition of a slight hint of Wes Anderson weirdness. Past works from Bates Jr have always been good to look at, but in King Knight the filmmaker and his talented crew really outdo themselves with the film oozing style from every pore. Here, everything from Shaheen Seth’s cinematography to the wonderfully slick costuming by Adriana Lambarri and Anthony Tran, help to generate this almost magical and fairy-tale environment in which our story plays out. The costumes are especially beautiful, proposing a modern boho chic interpretation of the stereotypical witch uniform. In King Knight, Bates Jr also shifts into mixed media format. Sections of the movie play out in animation, adding to the whimsy and charm already established. The use of light, projection, and colour further reinforce a very distinctive style and tone meaning that, even when you aren’t laughing, there’s still something enticing to watch.
A charming and committed performance from Matthew Gray Gubler and those around him, King Knight is easily the lightest and brightest entry onto Richard Bates Jr’s filmography. A film full of fun and joy, it will leave you with a spring in your step, a smile on your face, and a newfound appreciation for pine-cones and rocks.
King Knight
Summary
King Knight is a bright and breezy mixed-media comedy that charms and delights. Although a very different type of movie to Richard Bates Jr’s previous works, King Knight still retains the director’s spirit, making it a sure-fire hit with his fans.
King Knight was reviewed at Fantasia 2021. King Knight is out to own on Digital HD now.
