There’s only been a few films to mock the medieval era and do it correctly. They are Terry Gilliam and Terry Jones’ Monty Python and the Holy Grail, Rob Reiner’s The Princess Bride, and Mel Brooks’ Robin Hood: Men in Tights. The filmmakers behind these films knew how to tell a joke and could poke fun at this era without forcing the comedy; these films are often quoted and talked about to this very day. Knight Knight mirrors the parody of these iconic films and, while it would work better as a short film, it’s quite enjoyable.
Knight Knight follows two wannabe knights, Edgar (Tom Eykelhof) and Gilberg (David Wayman). It’s important for you to know they will never be smart or strong enough to be well-regarded knights because they’d rather talk about getting new pants than learn how to survive in the wild. They follow around another knight who’s highly skilled as a fighter and is handsome as a man can be. If he abandoned them or died, they admittedly would probably die, too. So, of course, the mansome knight dies (of unnatural causes), and these two knights-in-training are now on their own.
While wondering through the woods in search of an adventure, they come across esoteric types, spend all of their money on what they think is one of the sandals Jesus wore, and waste time discussing their desire for new pants (clearly, they were born in the wrong century). After realizing their luck may have run out, they discover an ad from a king looking for two good men to work as his hired muscle. Without any kind of evaluation, they are hired immediately. But, to make this story fun and funny, this king has devious plans up his sleeve and isn’t as good as they first think he is.
If you’ve made it this far into my review, then you don’t think my writing sucks and/or are curious about this film and/or why I said it would work better as a short. Writer Nicholas Horwood and director Christina Bucher together can churn out pleasing comedy, but it does become a tad gratuitous. Some of King King’s memorable scenes would really stand out if the running time was cut to 30 minutes or less. This is a minor nitpick because good comedy is formulaic and it’s hard to steer off the path and not lose your audience. Knight Knight won’t lose you, but the punchlines eventually become obvious and expected.
Like the three films I mentioned in the first paragraph, Knight Knight’s comedy doesn’t smother us (too much) and the story is very enjoyable. After watching, I’ve decided the film’s two protagonists are the equivalent of The Princess Bride’s Vizzini’s nephews – regardless of how hard they try, they will always be buffoons. It’s quite endearing.
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