Arthur the King

Film by film, Mr. Wahlberg is using his pull to create a tribute to the world’s tough, decent, humble working guys.

Maybe the movie will direct some eyes toward the existence of the Arthur Foundation, but while the movie goes down easy enough it is, on the whole, a bit unsatisfying.

The movie reminds us that we should pay close attention to the goals we set for ourselves, to decide whether achieving them will really give us what we are hoping for and what it means to win.

It’s fairly standard heartwarming dog fare, often treacly... but edged up with vibrant, handheld cinematography by Jacques Jouffret that gives the film a more adult, action-oriented feel

Watching Arthur the King grab this meatball of a film in his jaws and scurry off with it is a surprisingly pleasing way to spend an hour and a half.

[Simon Cellan Jones] uses the dog to really tug at the audience's heartstrings in increasingly manipulative ways, filling in emotional holes that are otherwise overlooked in the script.

The visuals are stunning and the film keeps you on the edge of your seats. Cinematographer Jacques Jouffret sucks you in the world he shoots and handled ably by Simon Jones.

The ace up this drama's sleeve, though, is Ukai, the scrappy, hairy crossbreed playing Arthur.

While the dog and Wahlberg do their best to move the audience with their attitude of dedication towards each other, the film fails to touch the sensitive fibers typical of this type of story. [Full review in Spanish]

Arthur The King is far from perfect, but at least it effectively harnesses the power these movies rarely neglect yet never master: Being infused with hope, no matter the adversity the characters face.