n fifth century A.D., adolescent boys are called from their native English villages to serve on behalf of the Roman Empire. Just lads of 10 and 12, these young men grow up on the battlefield, learning life lessons at the end of a broadsword, and grow up to become fearsome soldiers whose only desire is to return to their homelands to live the remainder of their lives in peace.
Led by Artorius (Owen), Lancelot (Gruffudd), Galahad (Dancy), Bors (Winstone) and the rest of the small phalanx eagerly anticipate some R&R; following their rescue of an imperiled bishop (Ivano Marescotti). Much to their disappointment, however, the group discover that they have yet another task to accomplish before their freedom can be fully granted: to journey outside the boundaries of the Roman Empire and recover a Roman nobleman whose life is threatened by the impending invasion of the deadly Saxons, who are led by a general named Cerdic (Stellan Skarsgard).
With little choice but to return to battle for one last mission, Arthur and his knights journey into enemy territory to stage a brave rescue, ward off the adversaries who aggressively pursue them, and survive long enough to see their own promise of freedom fulfilled.
Powerful performances
Even passing fans of this film are already aware that King Arthur's biggest outward selling point is its so-called "historical accuracy," and so will be disappointed if they make a sojourn to their local cineplex hoping to find the "true" story of the Arthurian legend. While the particulars of the world Arthur inhabits—such as general period detail, including weaponry, etc.—follow the strict law that historical advisors John Matthews and Linda Malcor laid down for the filmmakers, the story clearly takes liberty with the legend in much the same way as big-screen adaptations of the past. That isn't to say the lack of historical integrity makes for a less exciting time, but that those devotees of the subject matter aren't likely to find much in this film that truly resembles the universe of fictional creatures and fantastic storylines that have become literal legend.
Clive Owen, winning in Croupier and artful in Robert Altman's Gosford Park, is good but miscast as the overly serious Arthur; while he brings a level of introspection to the character lesser actors would have abandoned in the name of summer blockbuster-style histrionics, he remains too internal a performer to give the film the roaring, heroic weight that audiences expect. Thankfully, performances by the likes of Ray Winstone (Sexy Beast) more than make up for his lack of scenery-chewing, and invigorate the film whenever proceedings threaten to turn too serious to be enjoyable.
Knightley proves once again she's a scene-stealer in desperate need of a starring vehicle, and generates some genuine heat with Owen, but since she doesn't appear until almost halfway through the picture, we almost forget altogether she's a part of this Limey crew. The action, directed with Ridley Scott-ish strokes by Training Day helmer Antoine Fuqua, aims for nigh unattainable heights of theatrical drama, but still manages to keep things spry with clever characterizations and just enough modern-day flourishes (such as a CGI-laden battle atop a frozen pond) to rouse fans wary of its B-grade Gladiator leanings.
