Plague, famine and wolves couldn't stop medieval England, and feckless investors couldn't stop Christina Bucher from completing "Knight Knight," a droll but obviously underfinanced comedy that suggests Hope and Crosby in a post-Camelot Britain of moronic monarchs and petulant princesses.
Plague, famine and wolves couldn’t stop medieval England, and feckless investors couldn’t stop Christina Bucher from completing “Knight Knight,” a droll but obviously underfinanced comedy that suggests Hope and Crosby in a post-Camelot Britain of moronic monarchs and petulant princesses. Nicholas Horwood’s script imposes a bright modernity on the Dark Ages (it seems unlikely that Arthurian Englanders used terms like “bloody hell”), and Bucher exploits the incongruities to her own advantage. Still, homevid will be the destination of this crusade.
Once apprentice knights Gilbert (David Wayman) and Edgar (Tom Eykelhof) find their boss (Vidal Sancho) as stiff as a canned ham in his suit of armor, it’s clear that the best jokes about this period have already been cracked, either by Mel Brooks or Monty Python. Edgar and Gilbert decide to complete their dead employer’s mission, rescuing Princess Katrina (Bucher) from the craven King Vince (Nick Von Schlippe), but are then hired by Vince to protect his abducted bride-to-be. Sitcom conventions ensue. Everyone’s likable, but Katrina is the film’s crowning achievement, portrayed by Bucher as if she were an irritable housekeeper on a telenovela.