Review of The King (2019) by Isaac Butler for Slate — 02 Oct 2019

This Hal can only mumble resentfully in one language. It’s the language of “serious” male cinema in the year 2019, where seething resentment gives forth to bursts of violence. In deciding to speak this language instead of Shakespeare’s, Michôd has taken two of the Bard’s immortal geniuses, the drunkard Falstaff and his protégé, the Prince, and shrunk them down to the size of everyday people.