---
title: "The King"
year: 2019
kind: "film"
canonical: "https://film.one/film/the-king"
fi1m_id: "the-king"
imdb_id: "tt7984766"
tmdb_id: 504949
wikidata_id: "Q54801155"
fi1m_score: 58
critics_score: 60
critics_reviews: 25
published: "2026-09-24T23:02:44.111768+00:00"
updated: "2026-09-24T23:02:51.298924+00:00"
region: "HK"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The King (2019)

Directed by David Michôd · 2h 20m · Drama, History, War

## Identity

The King

- **Canonical:** https://film.one/film/the-king
- **Type:** Film
- **Fi1m ID:** the-king
- **IMDb ID:** tt7984766
- **TMDB ID:** 504949
- **Wikidata ID:** Q54801155
- **Same entity:** https://www.imdb.com/title/tt7984766/, https://www.themoviedb.org/movie/504949, https://www.wikidata.org/wiki/Q54801155

**Fi1m score: 58** · Critics 60 from 25 reviews

*In a sentence:* Henry V with the words taken out and the mud left in

> David Michôd’s version of the Henry plays looks the part, with grey stone, wet fields and a weary, worldly Falstaff from Joel Edgerton. But it removes Shakespeare’s speeches and puts little in their place, and Timothée Chalamet’s king spends much of 140 minutes staring at one fixed point.

## Synopsis

England, early in the fifteenth century. Prince Hal (Timothée Chalamet) drinks in a London tavern with the old soldier Falstaff (Joel Edgerton) and wants nothing to do with his father, King Henry IV (Ben Mendelsohn), who is dying and would rather pass the crown to Hal’s younger brother Thomas (Dean-Charles Chapman). A rebellion led by Hotspur (Tom Glynn-Carney) draws Hal back to court, where he offers to settle it by fighting Hotspur alone in front of both armies. The king’s counsellor William (Sean Harris) watches him closely. When the crown does come to Hal, he means to rule without war. Then a gift arrives from France, sent on behalf of the Dauphin (Robert Pattinson), and it is not meant kindly.

## Review

David Michôd and Joel Edgerton have taken the two parts of *Henry IV* and [*Henry V*](https://film.one/film/henry-v-1944), thrown out the verse, and rebuilt them as a realist drama about a young man who thinks he has refused a war and finds it has been arranged for him anyway. That is a decent idea and the film means it. *The King* is handsome, well cast at its edges and slow through its middle, and the slowness is not the mud’s fault. It is the writing’s.

The first act is the best of it. Hal is a sulking drunk in a tavern; his father is coughing in a cold hall; a rebel army is forming in the north. When Hal offers to fight Hotspur alone to spare both sides, the film gives us two men in full plate in a wet field, no music, a great deal of clanging and falling over, and a fight that ends because one of them can no longer get up. Tom Glynn-Carney’s Hotspur is loud and young and plainly frightened under the shouting. We felt, for the only time in the film, that a boy might die in front of us, and we were not sure which one.

Chalamet plays Hal as a scowl that hardens into a stare. He is watchful and quiet and he never raises his voice unless the scene demands it, and we can see the thinking behind the choice: a prince who has decided that stillness is the same as strength. The trouble is that he arrives at the throne already shut, and the remaining hundred minutes give him nowhere to go. When he speaks to his army before battle he does it in short plain sentences, and it is over quickly. Shakespeare gave the actor a saint’s day and five minutes; this gives him a raised voice and a field.

The supporting cast does the work he does not. Edgerton’s Falstaff is not the fat clown but a tired veteran who drinks because he has seen fighting and would rather not see it again, and the screenplay gives him the film’s one properly good idea, which is that the man who knows mud is more use than the men who know maps. Sean Harris plays William as a soft, tilted whisper, every line a suggestion rather than a statement, and we trusted him about as far as he intended. Pattinson arrives late as the Dauphin, blond and lolling and giggling in a French accent that dares you to object, and the film sits up for the first time in an hour. Mendelsohn sweats and spits and gives Henry IV a bitterness that the film does not spend long enough with.

Adam Arkapaw shoots it in flat grey daylight and candlelight, faces half in shadow, and he makes the English weather look like a policy. Fiona Crombie’s halls are bare stone, high and cold, a long table and not much else, so that power looks like an empty room with a chair in it. Jane Petrie keeps Hal in black wool and saves colour for the French, which tells you where the film’s eye is. Nicholas Britell’s score is low strings and a slow pulse; it is right for the battle and a little insistent everywhere else, asking for solemnity in rooms that were already solemn. Peter Sciberras cuts the hour between the coronation and the Channel crossing at the pace of the tables it is set around, and it is here that we were bored, and then annoyed at being bored by a film this carefully made.

Agincourt wakes it up. Michôd shoots the battle close and low, a long muddy scrum in which men drown in their own armour and nobody can see who is winning, and the not-seeing is the point. We were gripped and faintly sick, which is presumably what was intended. After it, the film has one turn left, which we will not describe; it is the most interesting thing in the screenplay, and it comes too late to change how the previous two hours felt.

Michôd’s [*Animal Kingdom*](https://film.one/film/animal-kingdom) (2010) was also about a quiet young man pulled into a family’s violence, and it made the quiet frightening. Here the quiet mostly sits there. Watch it for Edgerton, for Pattinson’s twenty minutes of nonsense, and for the mud. Keep something to read to hand for the hour in between, and do not feel guilty about it.

*Fi1m score 58, published 24 September 2026.*

## What the critics say

The reviews split almost down the middle, with slightly more in favour than against. Where critics do agree, it is on the cast. Most find Timothée Chalamet a compelling Prince Hal, growing more layered as the crown settles on him, and several single out Joel Edgerton’s worldly, reimagined Falstaff and Robert Pattinson’s flamboyant Dauphin as the film’s most enjoyable turns. The battle scenes, above all Agincourt, are widely praised as grim and unsentimental, and the cinematography earns steady approval.

The reservations cluster around pace and purpose. A large group finds the film ponderous and self-serious, its ideas about power raised and then left undeveloped. Chalamet also divides: the Guardian, Empire and NME each find him miscast or unchanging. Consequence objects to retelling the Henriad without Shakespeare’s dialogue. The spread is wide, from near-raves at the Venice premiere to outright dismissals from The New Yorker, Vulture and Polygon once the film reached general release.

## Straight answers

**Is The King worth watching?**

*The King* is worth watching only for the interested, and we scored it 58. Joel Edgerton's tired Falstaff, Robert Pattinson's twenty minutes of nonsense as the Dauphin, and a close, muddy Agincourt are the reasons to stay; the hour between the coronation and the Channel crossing bored us, and Timothée Chalamet's Hal spends much of 140 minutes staring at one fixed point.

**How long is The King, and what is it rated?**

*The King* runs 2h 20m. It is a drama and history film.

**Where can I watch The King in Hong Kong?**

*The King* is streaming on Netflix in Hong Kong. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is The King, and is it suitable for children?**

*The King* is not for children: it carries a US R and no UK certificate, and its violence is heavy, close and muddy rather than heroic. Two men in full plate beat each other until one cannot stand, and Agincourt is a long scrum in which men drown in their own armour, which left us gripped and faintly sick. Older teenagers who can take that will be fine.

**How does The King compare to Macbeth?**

*The King* and [*Macbeth*](https://film.one/film/macbeth) share the cinematographer Adam Arkapaw and a taste for grey weather and mud, but *Macbeth* keeps Shakespeare's verse and *The King* throws it out, and the earlier film is the better one. Michael Fassbender and Marion Cotillard give *Macbeth* a grief the Chalamet film never finds. Choose *The King* only if you want the plot without the poetry.

**What should I watch after The King?**

After *The King*, try [*Macbeth*](https://film.one/film/macbeth) (2015, Fi1m 77): Arkapaw again, in fog and firelight, with the verse left in. Then [*The Lion in Winter*](https://film.one/film/the-lion-in-winter) (1968, Fi1m 81): Plantagenets at Christmas, and everyone talks like they mean to draw blood.

### Reviews we read (25)

- **The Hollywood Reporter**, David Rooney (90/100, inferred): The critic finds the adaptation stirring, lucid, and thoughtfully balanced in its treatment of power and war. He especially praises the restrained, emotionally compelling performances of Timothée Chalamet and Joel Edgerton. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/king-review-venice-2019-1236076/)
- **Los Angeles Times**, Kenneth Turan (85/100, inferred): Turan finds the film an impressive, contemporary reimagining with strong storytelling. He especially praises Chalamet’s compelling portrayal of Hal and the film’s striking battle sequences. [Read](https://www.latimes.com/entertainment-arts/movies/story/2019-10-10/the-king-review-netflix-chalamet-pattinson)
- **Variety**, Owen Gleiberman (85/100, inferred): The critic finds the film engrossing and praises Timothée Chalamet’s star presence as Henry V. He also singles out its grim, unsentimental depiction of battle. [Read](https://variety.com/2019/film/reviews/the-king-review-timothee-chalamet-1203320801/)
- **Evening Standard**, David Sexton (4/5): Sexton finds the film thoroughly enjoyable, recasting Shakespeare’s history plays as a modern, violent political drama. He especially praises Robert Pattinson’s flamboyant Dauphin and Joel Edgerton’s loyal, reimagined Falstaff. [Read](https://www.standard.co.uk/culture/film/venice-film-festival-2019-the-king-review-shakespeares-game-of-thrones-a4227601.html)
- **Time Out**, Phil de Semlyen (4/5): The review calls the film a sturdily entertaining historical drama. It praises Timothée Chalamet’s soulful performance as Prince Hal. [Read](https://www.timeout.com/movies/the-king-3)
- **Screen Daily**, Jonathan Romney (64/100, inferred): The accessible page identifies this as Screen Daily’s Venice review, but its verdict is unavailable. The paywall also hides any specific praise or complaint. [Read](https://www.screendaily.com/reviews/the-king-venice-review/5142436.article)
- **The New York Times** (64/100, inferred): The page is inaccessible, so the critic’s verdict cannot be verified. No praise or complaint can be reliably identified from the available text. [Read](https://www.nytimes.com/2019/10/10/movies/the-king-review.html)
- **Little White Lies**, Stephanie Watts (60/100, inferred): Watts finds the film’s serious approach uneven, though it becomes more engaging once the story reaches France. She praises Robert Pattinson’s entertaining performance as the Dauphin and notes the film’s thoughtful questioning of Henry’s invasion. [Read](https://lwlies.com/festivals/the-king-venice-film-festival-review-david-michod-timothee-chalamet)
- **IndieWire**, David Ehrlich (C): Ehrlich finds the film flat and familiar, with its themes of power underdeveloped. He praises Chalamet’s performance and the realistic, emotionally revealing duel with Hotspur. [Read](https://www.indiewire.com/criticism/movies/the-king-review-netflix-venice-1202170476/)
- **Slant Magazine**, Christopher Gray (2/4): The critic finds the film confused and self-serious, with its exploration of Henry’s ideals left underdeveloped. Chalamet’s performance and the tension between Henry and the Dauphin stand out, though the film fails to make enough of the latter. [Read](https://www.slantmagazine.com/film/review-the-king-is-a-moody-and-confused-song-of-mud-and-chainmail/)
- **The Guardian**, Xan Brooks (45/100, inferred): Brooks finds the film slow to win him over, though it gathers momentum and draws him into its drama. He faults Chalamet’s performance as ill-suited to the role, while praising the film’s darkening atmosphere and growing dramatic force. [Read](https://www.theguardian.com/film/2019/sep/02/the-king-review-rogues-gallery-timothee-chalamet-robert-pattinson-shakespeare)
- **Empire**, John Nugent (40/100, inferred): Nugent finds the film lavish and occasionally effective, but ultimately too ponderous to be a definitive take on the Henriad. He praises the depiction of the Battle of Agincourt, while faulting the plodding middle and Chalamet’s unchanging performance. [Read](https://www.empireonline.com/movies/reviews/the-king/)
- **Film Comment**, Michael Sragow (35/100, inferred): The piece frames the film as a flawed revisionist Shakespeare adaptation, with Prince Hal portrayed as an aspiring pacifist who fails his own ideals. Its central complaint is that Hal cannot live up to his standards. [Read](https://www.filmcomment.com/deep-focus-the-king-2/)
- **The New Yorker**, Anthony Lane (30/100, inferred): Lane finds the film gloomy and dramatically unconvincing, especially in its portrayal of Hal’s transformation. He praises the grimly framed battle scenes and singles out the Dauphin’s casual gesture sending his knights into combat. [Read](https://www.newyorker.com/magazine/2019/10/14/pain-and-glory-tells-autumnal-truths)
- **Vulture**, David Edelstein (30/100, inferred): Edelstein finds the film ethically clear but ultimately dull and conventional. He singles out Henry’s unexpected vigilante turn as a surprising exception, while criticizing the film’s treatment of Falstaff and its unconvincing moral logic. [Read](https://www.vulture.com/2019/10/the-king-movie-review-timothe-chalamet-on-netflix.html)
- **The Wrap**, Alonso Duralde (85/100, inferred): The critic finds the film a smart, taut, expectation-defying historical drama that balances battle thrills with a thoughtful critique of war and imperialism. They especially praise Joel Edgerton’s Falstaff and his on-screen chemistry with Timothée Chalamet. [Read](https://www.thewrap.com/the-king-film-review-timothee-chalamet-robert-pattinson-netflix/)
- **The Skinny**, Jamie Dunn (★★★★): Dunn finds Michôd’s brooding, brisk adaptation deeply satisfying and Chalamet convincing as both prince and king. He particularly praises Joel Edgerton, whose performance brings unexpected worldliness to Falstaff. [Read](https://www.theskinny.co.uk/film/new-releases/the-king-timothee-chalamet-robert-pattinson-netflix)
- **/Film**, Joshua Meyer (75/100, inferred): The critic is pleasantly surprised, finding the film a sober and worthwhile take on power and war despite some flaws. Chalamet’s intense performance is singled out for carrying the film, with Pattinson’s scene-stealing turn also praised. [Read](https://www.slashfilm.com/570201/the-king-spoiler-review/)
- **HeyUGuys**, Linda Marric (75/100, inferred): Marric finds the adaptation watchable and engaging despite some imperfections. She praises Chalamet’s compelling performance and criticizes Pattinson’s miscasting and accent. [Read](https://www.heyuguys.com/the-king-lff-2019-review-timothee-chalamet/)
- **Digital Spy**, David Opie (70/100, inferred): The critic finds the film technically impressive and worthwhile, though pacing problems and an uneven script may limit its awards prospects. They single out Chalamet’s increasingly layered performance and Michôd’s brutal, unsentimental battle scenes for praise. [Read](https://www.digitalspy.com/movies/a28908566/the-king-netflix-review-timothee-chalamet-robert-pattinson/)
- **The Playlist** (64/100, inferred): The review text is inaccessible, so its verdict cannot be determined. No praise or complaint can be identified from the page provided. [Read](https://theplaylist.net/the-king-timothee-chalamet-venice-review-20190903/)
- **Den of Geek**, Patrick Sproull (3/5): Sproull finds the film visually sumptuous and well acted, but too safe and emotionally flat to make a real impact. He particularly praises the cinematography and Robert Pattinson’s entertaining performance as the Dauphin. [Read](https://www.denofgeek.com/tv/netflixs-the-king-review-a-gorgeous-but-uninspiring-period-drama/)
- **Consequence**, Scout Tafoya (40/100, inferred): The critic finds the film gripping and perfectly watchable, but ultimately frustrated by its approach and its failure to match its Shakespearean predecessor. He praises Robert Pattinson’s comic performance and the stark cinematography, while faulting the film for remaking the story without Shakespeare’s dialogue. [Read](https://consequence.net/2019/10/film-review-the-king-2/)
- **Polygon**, Karen Han (25/100, inferred): Han finds the film dull and ultimately short of greatness, with Chalamet’s Henry lacking charisma and convincing growth. She praises Pattinson’s brief, scene-stealing turn and Edgerton’s energetic Falstaff, while noting occasional striking battlefield imagery. [Read](https://www.polygon.com/2019/11/1/20942579/the-king-review-netflix-timothee-chalamet-robert-pattinson/)
- **NME** (20/100, inferred): The critic finds the film a formulaic, pedestrian misstep, with Chalamet miscast and out of his depth. Edgerton’s Falstaff is singled out as the film’s one performance triumph, while the gripping ending offers some redemption. [Read](https://www.nme.com/reviews/nme-venice-film-festival-king-review-timothee-chalamet-stars-film-loaded-cliche-2546574)

## Details

- **Director:** David Michôd
- **Director:** David Michôd
- **Screenplay:** David Michôd, Joel Edgerton
- **Cinematography:** Adam Arkapaw
- **Editor:** Peter Sciberras
- **Music:** Nicholas Britell
- **Production design:** Fiona Crombie
- **Costume design:** Jane Petrie
- **Producer:** Jeremy Kleiner, Joel Edgerton, David Michôd
- **Cast:** Timothée Chalamet as Hal; Joel Edgerton as Falstaff; Sean Harris as William; Tom Glynn-Carney as Hotspur; Lily-Rose Depp as Catherine; Thomasin McKenzie as Philippa, Queen of Denmark; Robert Pattinson as The Dauphin; Ben Mendelsohn as King Henry IV
- **Runtime:** 2h 20m
- **First release (Italy):** 2 September 2019
- **Genres:** Drama, History, War
- **Trailer:** https://www.youtube.com/watch?v=svVykTznk9Q

## Where to watch in Hong Kong

- Netflix: streaming

*Checked 2026-09-24.*

Also available in: AE, AR, AT, AU, AZ, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- AACTA Award for Best Actor in a Leading Role 2019: AACTA Award for Best Actor in a Leading Role (nominated)
- AACTA Award for Best Cinematography 2019: AACTA Award for Best Cinematography (won)
- AACTA Award for Best Costume Design 2019: AACTA Award for Best Costume Design (won)
- AACTA Award for Best Direction 2019: AACTA Award for Best Direction (nominated)
- AACTA Award for Best Editing 2019: AACTA Award for Best Editing (nominated)
- AACTA Award for Best Film 2019: AACTA Award for Best Film (nominated)
- AACTA Award for Best Production Design 2019: AACTA Award for Best Production Design (won)
- AACTA Award for Best Sound 2019: AACTA Award for Best Sound (nominated)
- Australian Film Institute Award for Best Screenplay 2019: Australian Film Institute Award for Best Screenplay (nominated)

## If you liked this

- *Chimes at Midnight* (1965): Welles plays Falstaff himself, and the Shrewsbury mud has never been bettered.
- *Henry V* (1989): Branagh keeps every word and the speeches are why you came.
- *Macbeth* (2015), Fi1m 77: Arkapaw again, in fog and firelight, with the verse left in. — [Fi1m page](https://film.one/film/macbeth.md)
- *Outlaw King* (2018): Another muddy medieval king, this one Scottish and rather more cheerful about it.
- *The Lion in Winter* (1968), Fi1m 81: Plantagenets at Christmas, and everyone talks like they mean to draw blood. — [Fi1m page](https://film.one/film/the-lion-in-winter.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-king