In “The King of Kings,” Korean visual effects master Seong-ho Jang makes his directorial debut with an animated feature distributed by Christianity-centered Angel Studios. Loosely inspired by Charles Dickens’ “The Life of Our Lord,” this film functions as both entertainment and spiritual instruction, much like the source material that Dickens originally created as bedtime stories for his own children.
The film’s trailer gives a good taste of the voice performances and animation style ahead of the full review.
Kenneth Branagh brings dignified warmth to Charles Dickens, perfectly capturing the author’s frustration and patience as his theatrical reading of “A Christmas Carol” is derailed by his boisterous son Walter (voiced with remarkable emotional range by Roman Griffin Davis). The framing device cleverly establishes how Dickens attempts to redirect his King Arthur-obsessed son by introducing him to “the King of Kings,” informing the boy that many beloved stories—including Arthurian legends and Dickens’ own “A Christmas Carol”—were influenced by the New Testament.
Kenneth Branagh brings dignified warmth to Charles Dickens, perfectly capturing the author’s frustration and patience as his theatrical reading of “A Christmas Carol” is derailed by his boisterous son Walter (voiced with remarkable emotional range by Roman Griffin Davis). The framing device cleverly establishes how Dickens attempts to redirect his King Arthur-obsessed son by introducing him to “the King of Kings,” informing the boy that many beloved stories—including Arthurian legends and Dickens’ own “A Christmas Carol”—were influenced by the New Testament.
The film sprints through Jesus’ life with efficiency—from the Nativity to his ministry, miracles, crucifixion, and resurrection—occasionally cutting back to show the Dickens family’s reactions. In an interesting creative choice, Dickens and Walter sometimes appear as background characters witnessing biblical events, creating moments where Jesus directly addresses them that feel somewhat unconventional but serve the narrative’s educational aims.
Oscar Isaac delivers a nuanced, compassionate portrayal of Jesus that avoids both sanctimonious preaching and overly humanized casualness. The supporting cast shines with Forest Whitaker bringing gravitas to Peter, Ben Kingsley delivering subtle menace as Caiaphas, and Pierce Brosnan portraying Pontius Pilate as a conflicted bureaucrat who orders Jesus crucified mainly to appease Hebrew authorities demanding his execution.
The three-dimensional, computer-generated animation employs familiar stylistic elements reminiscent of Disney-Pixar and DreamWorks productions, but thankfully avoids contemporary slang or nostalgic pop music that might distract from the film’s spiritual message. The film’s most powerful sequence—Walter’s metaphorical drowning and rescue by Jesus—uses stunning underwater imagery to illustrate the concept of Christ’s sacrifice in terms accessible to younger viewers.
While “The King of Kings” may function more effectively as a teaching tool than as a fully satisfying standalone animated feature, it succeeds in making biblical stories accessible and emotionally resonant for modern audiences. By framing ancient scripture through the curious eyes of a skeptical child who gradually embraces faith, Jang creates an entry point for viewers of all backgrounds to engage with Christian teachings through the universal power of storytelling and the enduring bond between parent and child.
Letter Grade: B