King Knight fumbles between trying to be hokey and a black comedy. Not too sure where it stands.


King Knight starts out as a Disney-like once upon a time montage, complete with a voiceover sounding reminiscent of John Lithgow to the point where I thought it was him. As I start this flick I can’t quite decide if it’s supposed to be artsy, satire, or just plain indie cheese. As I go further into the film, there is a wealth of information about all of our lead and supporting characters. This is where it piques my interest, if just slightly.


A family album presents itself, along with pictures, tiny backstories of how they met, and their names. Each time the story lands back on some kind of dark living room where our two leads perform some kind of love ritual. The tone so far that I’m getting, is dark-comedy. Something out of Dead Like Me and Warm Bodies with a comedic but relateable voiceover–minus the witches and warlocks history.




The story centers around a high priest Thorn Adams (Matthew Gray Gubler), and a high priestess (Angela Sarafyan looking like a young Lady Gaga.) who is trying to solve the personal problems of their coven. Thorn (Gubler) is seeing some of his own personal problems bubbling up in the process, affecting everyone around them.


I was pleasantly surprised to see good friend Barbara Crampton in this project, even if it’s a very confusing plot. I do try not to give negative reviews, but this was just a very off-putting mix of dialogue and plot.


King Knight
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Barbara Crampton (King Knight)



It is not an all-white cast, which gives an added layer of reality to an otherwise mythical but oddball adventure. We also come across important issues such as eating disorders, self-love, letting go of that one toxic ex, and LGBT. The costumes are pretty creative as well. I don’t know if those tattoos were used specifically for the movie, but my guess is that they were. As far as the creatives go, it was well costumed.



The lighting left a lot to be desired. I kept turning up my screen, despite it being at its max. Especially in the first act of the film where it is taking place in a bedroom, it needs that pop of color and a bit more in the way of lighting. Hopefully, future films will be as bright and as colorful as the poster for KING KNIGHT. 

King Knight
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King Knight poster art.

I do like how the music does flow with the mood, but the dialogue is very Shakespearian, which herein lies the confusion of this film. Is it trying to be satire? Artsy? Retro horror? And if it takes place in modern times, why is it so much like something out of Mists of Avalon? I am very ignorant when it comes to the Wicca and Beltane scenes because I have personally not experienced that lifestyle.


Is it custom to wear Halloween fairy wings? More importantly, would someone literally scrape off bodily fluids from elsewhere to become pregnant?




The Shakespeare dialogue is all over the place with modern sayings such as ‘obvi’ for obvious, I can’t decide if they are hipsters, Wiccan, or just a bunch of drug-filled delusional college kids. I will say, the best actor in this is definitely Grubner, he does well with an ever-revolving script with the dialogue he has. Consider this journalist puzzled to the max.


The twist at the end makes sitting through it worth it, but I do think it tried to squeeze too many different genres into an eighty-one-minute film that will leave any audience member flabbergasted.

Matthew Gray Gubler, Angela Sarafyan, Andy Milonakis, Kate Comer, Johnny Pemberton, Josh Fadem, Nelson Franklin, Emily Chang, Ronnie Gene Blevins, Swati Kapila, Shane Brady, AnnaLynne McCord, Alice Glass, with Barbara Crampton, and Ray Wise
Directed and Written By:
Richard Bates, Jr. 
Thorn (CRIMINAL MINDS’ Matthew Gray Gubler) and Willow appear to have it all as the revered high priest and priestess of a coven of new age witches. But a secret from Thorn’s past throws their lives into turmoil and sends them on a trippy, hilarious journey.
Run Time: 81 minutes | Rating: Not Rated
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