Unus Laxus Viridan (2021)

A hypnotic, VFX-fueled epic of pure fantasy atmosphere, complex nature allegory, & bravura ocular craftsmanship with a genius Dev Patel typecast, necromancy in medieval-immersion, honor/religion/masculinity exposition, and modernized knights of the round table. 9.5/10.

Plot Synopsis: King Arthur’s headstrong nephew embarks on a daring quest to confront the Green Knight, a mysterious giant who appears at Camelot. Risking his head, he sets off on an epic adventure to prove himself before his family and court.

*Possible Spoilers Ahead*

Official CLC Review

The King Studio Of Indies

The Lighthouse. Minari. Euphoria. First Cow. Midsommar. Uncut Gems. Waves. Zola. High Life. Moonlight. Lady Bird. The Witch. The Killing Of A Sacred Deer. One Of The Craziest Filmographies Of A Studio <10 Yrs

Photograph Courtesy Of: A24 x Sailor Bear Productions

The Lighthouse. Minari. Euphoria. First Cow. Midsommar. Uncut Gems. Waves. Zola. High Life. Mid 90s. Lady Bird. The Florida Project. Good Time. Moonlight. The Witch. Ex Machina. The Killing Of A Sacred Deer. A24 has become one of the great moviemaking powerhouses in the world in less than 10 years: the king studio of indies, refueling a blockbuster-laden cinema with injections of pure adrenaline, unpredictability, IQ, style, and life. Back in 2017, they decided to add diversification to the growing list of positives – class, gender, orientation, and race, culminating in an Oscars-promising 2020 Minari of mixed-cultural heritage & The American Dream lost in a sea of high-quality competition and The Academy characteristically overlooking LGBTQ+ and POC films. The heartbreaking loss of Yeun & co. has prompted the studio to go back to the drawing-board… and that’s okay, because they’ve come back with a film even 10x better we’re giving the gauntlet of Best Film Of 2021 to right now. A hypnotic, VFX-fueled epic of pure fantasy atmosphere, bravura ocular craftsmanship with strikingly-iconographical cinematography utilizing chroma theory and lost techniques, Camelot lore-revisionism, a bewitching ethereal chant-mystifying score, western/horror/romance/adventure genre-diversification, Hinduism ideological tenets, complex nature allegory of vital climate exposition in a lens of honor, masculinity, religion, fame, and karma themes, alchemical necromancy in medieval world-immersion, and old-world Dev Patel career-performance with groundbreaking representation capabilities, TGK is a graceful modernized deconstruction of a classic knights of the round table myth.

A Medieval Experience Like No Other

Gothic Architecture, Byzantine/Anglo-Saxon Aesthetics, Chain-Tunics, Linguistics, Folk-Lute 3/4 Adagios, & The Lost World Of Ireland Swirled W. Dreamy Phantasmagoria

Photograph Courtesy Of: A24 x Sailor Bear Productions

The Green Knight is one of the best films of the 21st century since its Dark second-syllable name-brethren redefined and expanded the capabilities of pop cinema back in ’08. The film is a religious experience: a Kubrickian maze-oeuvre of intelligence, complex themes, surrealistic atmosphere, and medieval-immersion from its opening scene. The score evokes nostalgia of 2001: A Space Odyssey’s Monolith by its bewitching, ethereal atonal choral-chants used to create an ominous cimmerian atmosphere that hypnotizes you early on and ceaselessly [& mercilessly] ensnares the very pith of your soul. The cinematography is filled with striking iconography, chiaroscuro, dark-filtered supernatural aesthetics, hyper-manicured geometric symmetry, compositional elegance, magnificent fantasy world-building often throwing reality into question, all-time great practical VFX in its eponymous being, and old-world technical prowess. Together with its fellow-2021 Driver/Cotillard minor-key hypnagogic Caraxian rock-opera Annette (with which TGK shares many similarities from fantasia to masculinity & fame themes), the two films are at the forefront of bringing textbook filmmaking and technical craftsmanship back to modern cinema. Everything from superimposition to 360-tilt pans to vignettes to key/fill selective bursts of floodlights to kaleidoscopic chromas contrastively juxtaposed by theoretical considerations to sumptuous cross-dissolves all galvanize the eye to put you further under its spell through its expansive uses of time, color, space, and light catalyzed by technique.

The Cinematography

Chiaroscuro, Striking Iconography, Dark-Filtered Mysticism, Geometric Composition, Baroque/Renaissance Vistas, Light Keys, All-Time Great Practical VFX In Eponymous Being, A+ Fantasy Worldbuilds & Atmosphere

Photograph Courtesy Of: A24 x Sailor Bear Productions

Both work in-tandem to foster a remarkable sense of period-authenticity and realistic immersion in its medieval background setting-choice as well. Gothic architecture fringed with gargoyles and cross-laden flying-buttress, dramatic usage of stone, mystical sibyl incantations, Byzantine & Anglo-Saxon art-styles, chain-linked tunic costumes, royalty and noble class-hierarchies, medieval fonts/linguistics, Galilean astronomy codexes, KJV Bibles, lute/fiddle-strummed 3/4 time-signature adagios, & the lost world of its breathtaking Republic Of Ireland moss-green rolling hills and mountains feeling out the pages of The Old Testament perfectly recreate the era. The historical documentary-ready period-piece is swirled with dreamlike phantasmagoria and hypnagogic atmosphere for a symphonic experience I could get easily lost in & gulp endlessly like a flagon of ale at its Camelot pub to be happily lovedrunk-on the rest of my life. The audiovisual package also manages to serve as a panegyric to nature. Beyond its natural vistas feeling often like a Baroque or Renaissance painting by classical masters in western/horror/romance genre modernized remixes, the film balances its minor-key, drama-infused folk majesty with the elements. Breathtaking uses of Kurosawa & Satyajit Ray-esque natural silence [like fellow-2021 Pig] let us frolic in the languishing quiescence and peace of birdcalls, wind rustling through leaves, and water flowing along the riverside we go to nature in search of to quench our city-souls – also evoking seasonal changes from winter to spring to fall and weaponizing omnipotent fixtures like our voices and heartbeats into instruments and 808 drums.

The VFX & Technique

Galvanizing The Eye W. Magic By 360 Tilt-Pans, Superimposition, Vignette, Contrastive Juxtaposition Color Theory, Cross-Dissolves; Expansive Uses Of Time, Color, Space, Light

Photograph Courtesy Of: A24 x Sailor Bear Productions

This is of metaphoric synergization with its screenplay; The Green Knight is an allegorical tale of naturalist/environmentalistic ideals, prismatically-analyzed through a lens of honor, fame, religion, masculinity, and karma themes. ‘We deck our halls with it and dye our linens… but should it come creeping up the cobbles, we scrub it out as fast as we can; when it blooms beneath our skin, we bleed it out; we cut it down and spread ourselves atop it, but it comes back. green is when ardor fades, passion dies, and we die. our footprints fade with grass and moss covers our tombstones. try as we might, everything we have and hold dear succumbs to it’. The film is one of the Greatest Of All Time treatises/exposés on perhaps the most important topic of mankind [especially in the 21st century’s context of catastrophic climate-change on the horizon]: Earth. The Green Knight is a personification of nature, symbolizing our parasitic and dishonorful relationship with the planet historically. His biology is comprised of thorns, branches, & tree trunks hued In gradations of green: the color of ecological life. He is described by animals who all know him as ‘wild as much as they are’. He is shown as a king in his own right, sitting atop a throne of a lost-chapel covered in an Eden-like forest growth to metaphorize the divinity of nature beyond scriptures and its eventual reclamation of man’s fleeting impermanence. The Green Knight challenges us to a Christmas game he lays out with clear-cut, fair rules: a brave knight of King Arthur’s round table can strike him anywhere, and he only asks to just return the blow in the exact same place one year hence.

The Score

Evoking Nostalgia of 2001: A Space Odyssey, Bewitching Ethereal Choral-Chants Drenching The Atmosphere In Omens & Hypnotics – Balancing Minor-Key, Dramatic Folk Majesty W. Kurosawa & S.R. Naturalism

Photograph Courtesy Of: A24 x Sailor Bear Productions

The Green Knight provokes & antagonizes through subtle word-choices in the proclamation to play on mankind’s ego and pride, laying bait-and-chum for a nightmare parable one gung-ho guppy bites on. Gawain volunteers out a caustic brew of young ambition, masculine pride, foolhardy recklessness, and hunger for fame/riches – also symbolizing mankind’s insatiable bloodlust and rapaciousness of nature by purposely going all-out for a brutal-yet-badass, excessive-force display by chopping off his head instead of a meeker-yet-smarter alternative place with the axe TGK bestows upon him and willingly bows so that he can do so wherever he chooses [likely knowing from past experience mankind’s choice, supported by the fact not even other knights of the round table present volunteer out of perhaps knowing or hearing legends of him]. Regenerating as real-world nature does, he flips the dynamic of power to tell Gawain he needs to honor his promise next 12/25: man goes from killer to victim, aggression to fear, attack to defense, and ego/god-complex to humbled in a masterclass of the concept of the sublime [man feeling small by the power & awe of nature] cleverly metaphorized. The act and game themselves have provocative ramifications and imagery – The Green Knight’s axe is lumberjack-esque and his oak tree-like physiology evokes by graphic comparisons the horrors of mankind’s deforestation – chopping down the environment, trees and plants being the most important aspect of ecosystems further-symbolized/synergized with medieval iconography of kings by the act of beheading.

The Nature Allegory

A Complex Nature Allegory, Prismatically-Analyzed Through A Lens Of Honor, Fame, Religion, Masculinity, & Karma Themes; One Of Greatest Treatises/Exposés Ever On Mankind’s Most Important Topic. One We’ve Chopped Down Like Grn. Knight’s Axe: Earth

Photograph Courtesy Of: A24 x Sailor Bear Productions

The Christmas Game also evokes religious iconography by its date choice on the holiest of professional calendar days in multi-religious contexts led by Christianity – likely out of ironicism to deflate our holy exalated egos by showing us our own hypocrisy. A central theme of honor is awoken by the contrastive dichotomization: nature always exhibits it by selflessly giving itself [physicalized by The Green Knight’s bowing and fearlessly accepting whatever blow attempted] to all its creatures and inhabitants, ones whom all pay back that benevolence with respect and honor by never betraying it or violating the hierarchy. Then, you have mankind.. selfishly taking more-and-more and ruining/polluting the environment every day without ever giving back or honoring the bestowances/gifts laid upon them that makes and powers our economies, cities, and society. The film psychoanalyzes why this catastrophic divergence is – painting it as a fundamental character-flaw of humanity by extrapolating it to our own vices and actions even outside of natural contexts; we kill, steal, assault, deceive, sexualize, and commit unspeakably-evil acts against each-other every day, as its events’ characters exemplify firsthand: Winifred, Gawain, and The Scavengers.

The Green Knight & Metaphorization

The Knight: A Personification Of Nature; Biology Of Trees & Branches, Descriptions Of Wild By Known Animals, Regeneration, & King Reigning From Own Throne Covering A Lost Chapel W. Eden: The Divinity Of Nature, Reclamation Of Mankind Creations

Photograph Courtesy Of: A24 x Sailor Bear Productions

The Scavengers [led by a magnificent signature Barry Keoghan performance, as we’ll address later] set up a elaborate ruse posing as benign, plucky scroungers/hyenas foraging the countryside – only to be doing so to find passersby, redirect them with false-pretense shortcuts to wherever their journey leads, and lure them to a forest-clearing trap to rob of possessions them at arrow-point and leave them for dead. This is made even darker & more animalistic by the fact Gawain [out of dishonor, masculine pride. and fame/clout-changing to again invoke the themes by how he poses to be a knight and doesn’t correct their obvious assumptions of his lofty status, but still existentially good as he journeys to honor The Green Knight’s game] even does give them a scheckel in good faith and philanthropy for a job that didn’t even require compensation. The lead scavenger – out of greed and materialism – asks for payment simply for giving directions, only for it to catalyze a guard-letdown as Gawain is led to the perfect crime setup and surrounded by bloodthirsty wolves who, even more so by their perceived aggrandization of him as a knight, take everything he has and leave him for dead tied to a tree like the one he symbolically chops down as he imagines his slow-and-agonizing death fading to a skeleton as the seasons change if he was to be stuck there.

A Christmas Game

Clear, Fair Rules Of Retribution, Justice, & Accountability; A Provocation Of Mankind To Show Our Violence, Ego, Relig. Hypocrisy On Holiest Day: A Flip Of Power-Dynamics

Photograph Courtesy Of: A24 x Sailor Bear Productions

Winifred benevolently and trustfully gives a weary traveler a place to stay for the night in her cottage, only for him to try to take advantage of her and, upon justified refusal, chops off her head – again clearly connected to The Green Knight’s game to elucidate how we kill ourselves along with nature and imagistically-provoke us with why that is? Even Gawain convinces himself he’s going on this odyssey solely to honor the Christmas promise, but is equally journeying this western survival epic against the elements out of self-glorification and manifest destiny entitlement of being a great man of knighthood, fame, and sovereign riches. The universality of these desires reverberates religious contemplations on the original sin and impurity of mankind’s snake-in-the-grass sadomasochism, as well as comments on masculinity by how [as Essel says] we’re never satisfied with being ‘good men’, but want to be ‘great men’ immortalized in fame by myth and legend like Gawain does – even if it means putting his family and life at-risk. This isn’t just a simplifiable masculine desire either; the expectations and drive for males to be alphas and provide with resources [originally domain, food, reproduction, safety but now skewed more towards money and power as society progressed and ever-present natural dangers faded upon industrial and city sociological revolutions] have been reinforced both on evolutionary, and societal extrinsic levels since the dawn of time.. a perpetual cycle of alpha-males being excess-rewarded with sex, love, fame, power, resources, etc. while betas may survive and subsist longer, but do so on their leftovers only after they’ve had their fill. If Gawain had never gotten any ‘great stories’ of his own, he may not have gotten the throne and all those inheritable rewards as expositioned to further complexify the issue – one there is a fine line both ways on.


Gawain Volunteers & Beheads Out Of Young Ambition, Masculine Pride, Foolhardy Recklessness, & Fame/Riches Desire – What We Do To Be Immortalized W. Legacy & Be In Knights Of Round Table-Esque Myth/Legend

Photograph Courtesy Of: A24 x Sailor Bear Productions

A fast-forward of what Gawain’s life would be like if he escaped The Green Knight unharmed shows him become a cruel, severe, inhumane, dictatorial monarch who throws his subjects into pointless wars/carnage he loses his own son in over materialistic possessions. He throws out his love-interest turned mother-of-his-child he’s characterized as loving and cherishing a token-bell from throughout the film for a younger, whiter bride metaphorized to look like Winifred by how he symbolically chops off Essel’s head too – a grim not-so happily-ever-after for the once-charming, suave, innocent underdog: now a monster worse than the emerald giant by the synthetic man-made vices of money, fame, and power have corrupted him and made his masculinity toxic to ask heavy questions on what the balance is? The fox [painted with fantastic VFX-realism and indescribable adorableness that somehow brings this CG-animal to life with more emotiveness and soul on a $15M-budget than 2019’s The Lion King did with a 1600% higher $260M budget; talent/craftsmanship over money] too is a comment on how mankind has violated and subverted natural order. Pimping a butterfly, we take beautiful creatures nature crafted through eons/millennia of natural selection like wolves and foxes and put them our own artificial selection grinder to parse out traits we like and remove ones we don’t. This left us after generations of breeding with the docile and domesticated dogs we know them as today: from a biological standpoint beyond cuteness, deprived and diluted of ~every nerve and DNA-fiber of instinct & natural magic, watered-down like the plastic bowls we give them food out of in apartments-over-forests.


An Odyssey Of Survival By Manifest Destiny To Be Great-Not-Good, Reinforced By Millennia Of Biological Evolution, Societal Expectations, & Alpha Reward Dynamics

Photograph Courtesy Of: A24 x Sailor Bear Productions

David Lowery gracefully deconstructs the chivalric romance by anonymous and classic knights of the round table myth/legend with modernized elegance and avant-garde proficiency – finding new, complex intelligence both olde and new between-the-lines in such a critical part of history to, like nature, take something rigid, old, outmoded, and lifeless as medieval tales generations old that no one’s touched in centuries and grow new life out of it. The film exemplifies [in addition to its aforementioned Christian iconography and sin-themes throughout] many foundational ideological tenets of Hinduism I was especially surprised of, having been one myself and rarely ever seeing even a reference to one of the world’s most adhered-to religions in cinema. Principles of ahimsa [the rule of non-violence], karma and moksha in the context of samsara [reincarnation and the release from it by actions-and-reaction of the cosmic universe], brahmans, and assisi [humans are a part of nature indissolubly linked to all plants and animals: who are sacred and an equal part of a shared ecosystem together illuminating the work of polytheistic gods] can all be found in The Green Knight. This only further elucidates how much of a masterpiece the film is – one like nothing you’ve ever seen before and one of the most ambitious and skillfully-executed films ever made by how surgically it manages to analyze and contextually cross-section both in one overarching motif, when 95% of religion films can barely do one and I’ve only ever seen one juggle multiple before [& not as well as this]: Life Of Pi. The Hindu-Christian mix also playing beautifully off its main casting of mixed-culture and groundbreaking cinematic representation potential.


Dichotomization; Nature Always Exhibits It By Selflessly Giving To All Creatures Who Never Betray/Violate, Except A Humanity Of Insatiable Greed, Excess, Rapaciousness, Parasitism: A Dishonored Alliance, Revenged

Photograph Courtesy Of: A24 x Sailor Bear Productions

Dev Patel has delivered the Performance Of The Year: a powerful, emotional, rangeful, star-making piece of thespianship as his Gawain is taken on a vertiable odyssey of ghosts, giants, ghouls, personal growth, and grand adventure. Okay, we know we said this last year – and still 100% stand our PhD-analytical piece of why Sound Of Metal’s Riz Ahmed deserved the Best Actor Oscar last April, only to be heartbreakingly-snubbed over the widely-chastized [yet ~par-for-course] decision by The Academy to overlook him and two other actors of color equally-deserving of cinema’s greatest honor for 2021 in Steven Yeun and the late Chadwick Boseman… to give the old white guy who already has enough more at their expense. If Patel doesn’t win the B.A. again this year.. we’re going to lose it. Heck, we’ll be more destitute of faith in the cinematic system than TGK does in mankind. Dev radiates with blinding luminosity, shearing intensity enough to cut through the screen, and rugged masculine charm like a Clint Eastwood fresh off the set of Leone’s 1967 The Good, The Bad, & The Ugly – lighting each frame on-fire and packing remarkable machismo, emotion, and handsome-brooding without the physical stature of the Schwarzenegger-sized frames we so used to seeing. Patel still feels masculine, but refreshingly achieves it more by his intrinsic cues and performance of intensity-mired-in-emotion over physiological muscles: most visible in the crescendo finale he breaks down in something as human and tangible as fear-of-death and regret. We comprehensively refuse to believe he and Aquaman/Game Of Thrones-veteran Jason Momoa were not simply rethawed from cryogenic freezing or time-capsules by how perfectly-typecast they are from this era: perhaps the ultimate two actors of mind now for medieval dramas, both also celebrationally people-of-color and cultural diversity in this new frontier of moviemaking.

A Mankind Of Sin

TGK Paints The Divergence As Fundamental Character-Flaw Of Mankind Who Kills, Lies, Steals, & R*pes Beyond Nature To Ourselves: Arcs Of Gawain, Winifred, & The Scavengers

Photograph Courtesy Of: A24 x Sailor Bear Productions

The fact that he’s Indian and happens to have brown skin – as someone of the same cultural heritage and pigmentation myself who never sees my people represented in modern cinema: ever – just makes the performance all the more of critical importance. One of the greatest things about the modern cinematic landscape has been the bloom-evolution of minority filmmaking: people of all races, genders, sexual orientations, class, etc. being able to tap into the most powerful and comprehensive tool of storytelling in history. Cinema explores what it means to be human, allows us to paint our wildest fantasies only limited by our imaginations, has saved my and countless others’ lives by giving people in dark life situations hope and escapist happiness, & allows the zenith version of culture-defining stories passed down over generations from cave-paintings to the biggest audiovisual/narrative scale imaginable to be seen by the world. Especially wired in the very cultural DNA of my people, it was always a mystery to me why we – the #1 or #2 biggest ethnicity in the world population-wise [along with our fellow Asians who together comprise 2/3 the world’s population] – are quite likely the least cinematically-represented. While I love Bollywood, it pales in comparison to the world-influence and stage of American-made movies – and the COVID-19 pandemic’s resurgence of violence and hatred of Asians worldwide all come together to make films like this transcend box-office receipts and critic reviews to a higher importance.


Both Christianity: Eden & The Snake-In-The-Grass Impurity Of Original Sin, And Hinduism: Ahimsa, Karma, Moksha, Samsara, Brahmans, & Assisi Religious Tenets In One Of Most Ambitious Films Ever

Photograph Courtesy Of: A24 x Sailor Bear Productions

The other performances are just as phenomenal: from Barry Keoghan’s [The Killing Of A Sacred Deer, FTW!] magnificence of range cascading a plucky, innocuous pauper into a merciless marauder to Alicia Vikander’s sexy-and-stylishly seductive Lady Hautdesert delivering Shakespearen monologues with unflinching sovereignty to Sean Harrison’s miserly, aging king misguidingly luring Gawain to his doom under the prerogative of greatness. The Green Knight is one of those rare jewels of modern film where every aspect comes together ~perfectly: a symphony of cinematography, score, narrative, themes, allegorical depth/complexity, pace, editing, direction, period-authenticity, performances, etc. If there is one flaw in the near-flawless landscape it feels farcical to even weigh seriously, it’s the final minute. We love the decision to have Gawain run away like a coward all the way back to Camelot with his tail-tucked-between-his-legs and masculine ego shattered to live out the rest of his life clinging desperately to that green belt he [anti-religiously] believes will keep him safe from The Green Knight by its magic/witchcraft. The emerald giant’s refusal to follow him also makes him an even-better villain: one who, as the best do, evokes more fear and psychological torture through the anticipation of revenge/payback than the action – getting his comeuppance and kicks by elucidating the hypocrisy/hubris of man who kills and galavants with bravado, but is reduced to a crying infant when his actions’ consequences come back to haunt him while making Gawain suffer perhaps an even worse-fate than death by the lingering cloud of the truth of his cowardice and inability to ever be able to tell his loved ones his secret.

The Performances

A+ Cast Led By POTY Dev Patel: A Powerful, Emotional, Perfectly Typecast Piece Of Thespian Brilliance, Rugged Eastwood Machismo, & South Asian Representation

Photograph Courtesy Of: A24 x Sailor Bear Productions

Gawainmay not be physically killed by the knight, but his spirit is so – taking him on a depressive journey where even his wildest dreams and aspirations he wanted his whole life and now gets to live out in the throne and knighthood feel tainted and refuse to bring him happiness. The sparkles of his jewels fade and he joins one meaningless war after another, looking empty behind the eyes in a nihilistic fervor decimating his people from the sanctity of his castle to further the character-definition of the coward he now wears as an unshakable heart on his sleeve. Them being the ones who to behead him so that the mercy-taking nature-symbolized Green Knight never had to would’ve been symbolic brilliance and karmic justice of the highest Arthurian order: a perfect ending its trajectory leads to until the last minute or two. So, why does it negate all this by having it all be a vision instead of reality as we get flashed-back to him kneeling at the green chapel? Sure, it shows character-growth and true manliness by a Gawain finally owning up to his actions and accepting their consequences and proves by his own admittance The Christmas Game was a test-of-man and moral parable designed by The Green Knight, but it jeopardizes the purity, selflessness, and victimhood of nature when TGK – seemingly just for horror’s sake, and justified as it is by mankind’s centuries of analogous mercilessness – still says ‘off with your head’.

The Finale

We Love The Cowardice Of Gawain’s Escape That Shakes To Core & Soils His Reign With Lies & Inferiority Complex Until His Own Subjects Finish TGK’s Job – Until ~Undone By Easily-Fixable Final Minute Only Flaw

Photograph Courtesy Of: A24 x Sailor Bear Productions

This will easily be fixable with the stop remote-button on the many rewatches to come, and doesn’t fail as an ending of accountability and justice, but just could’ve been handled better with more synergism with its themes. There are also questions left unanswered like why Gawain’s mother summoned The Knight [to give her son a chance at greatness?] and what happened to Keoghan’s Scavenger after taking the horse that does show back up at the end – but I’m sure these will be revealed in the details upon watchbacks, and even if they aren’t: are not plotholes so as the rare breed of arthouse and IQ cinema that doesn’t spoon-feed or dumb-down itself for the audience and demands you think and analyze with burning desire to find The Holy Grails hidden beneath its surface as we’ve done every one we can find here. The film is a comprehensive masterpiece and one of our favorite new films in years – a spellbinding revisionism and reimagination of the middle-ages that plays by its rules in reverberating medieval art-style dominant characteristics like iconography, religious subject matter, elaborate patterns and decorations, bright colors, and social status while reframing and giving them all new life. A hypnotic, VFX-fueled epic of pure fantasy atmosphere, bravura ocular craftsmanship with strikingly-iconographical cinematography utilizing chroma theory and lost techniques, Camelot lore-revisionism, a bewitching ethereal chant-mystifying score, western/horror/romance/adventure genre-diversification, Hinduism ideological tenets, complex nature allegory of vital climate exposition in a lens of honor, masculinity, religion, fame, and karma themes, alchemical necromancy in medieval world-immersion, and old-world Dev Patel career-performance with groundbreaking representation capabilities, TGK is a graceful modernized deconstruction of a classic knights of the round table myth.

Official CLC Score: 9.5/10