The climactic scene of TKS is the deliverance of a speech to ensure the nation of Britain & it's protectorates knew that England had entered the war. A thought that overshadows a successful annunciation by George VI so deeply it renders it almost a footnote. The message is timely however, that someone with absolute power, in this case, influence. Should themself struggle to allow the proletariat, represented by Rush, to craft or influence the words their voice returns as a ruling to the nation.

(See Jurispathic's review. Spot on) It's a total Oscar deroute. You can put two men in a room, make one stutter and one charming. It'll win you oscars if you add some classical music and some quite good cinematography. But it is a TRIVIAL story and the most interesting parts are the downplayed ones about the nazi brother or the political implications of a weak king in wartime. This film would've been forgotten at once if it hadn't been for Hollywood's decaying charm and lousy judgement.

91.750

An incredibly pleasant film to watch. The painterly shot composition and witty but subdued dialog lend the film a dignified grace. Firth is excellent (he truly deserved that Oscar) and has great screen chemistry with Rush. The story beats occasionally fall into cliche, but the film exudes such charm and honesty it is easy to forgive. A great film about a great bromance.

Superb acting, direction and design help tell this gentle story. Judging from personal experience, Colin Firth is perfect acting out someone with a speech impediment as well as his other vulnerabilities. However, it is still hard to fully relate to his character, so far removed from common man. Geoffrey Rush's character learns more of the King's life and POV than the other way around. In the end, a 5 min reading from a page proves suspenseful, and because of this the movie succeeds.

A sound, well-acted piece but perhaps a little too simplistic. Rather than big fireworks there are tiny incremental steps towards the goal, which almost pass under the radar. And we never really get inside the king's head, which a more risk-taking and avant-garde directorial approach might have been able to achieve. Decent movie but not the best of 2010 in my opinion.

The actors make this film. Past the excellent central performances by Firth and Rush we've got the sparkling Helena Bonham Carter, and then Michael Gambon and Guy Pearce are always a pleasure to watch.

Firth is wonderful, of course, but the chemistry between he and Rush is what truly shines. As funny and heartfelt as these scenes were, it was unfortunate that everything in between came across as a little bland. Any film that wastes Guy Pearce's talent gets docked points- no questions asked. Still, a lovely film that serves as an unorthodox inspiration.

What? Are we running out of plot lines? Anything else? No.

A genuinely all-around good movie, with stellar acting from Rush and especially Firth, as the demanding title role. For a sober historical drama, it was refreshingly witty and even though it doesn't really tread any new ground, it has enough charm and heart to silence any opposition...

Great, great movie. Would be worthy of Best Picture if it came out in any other year. Firth is worthy of the Best Actor Oscar regardless, as he and Rush are the obvious centerpieces of the film. Predictable? Yeah, that's fucking dumb. It's like complaining about "127 Hours" being predictable. It's a piece on mood and performance, not plot, and Hooper directs it as such to great success. Again, worthy contender for Best Picture in any year that didn't produce "The Social Network."

Colin Firth was very convincing. The camera work captured nicely the awkwardness of Bertie.

the thing which is important is how King George VI (played strongly by Colin Firth) is being cured by speech therapist Lionel Logue (magnificent act by Geoffrey Rush). the result is very satisfying.

Solid work all around. A fine script and superb turns by Firth and Rush help this movie carry out its modest goals.