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The King's Speech

2010, History/Drama, 1h 58m

What to know

Critics Consensus

Colin Firth gives a masterful performance in The King's Speech , a predictable but stylishly produced and rousing period drama. Read critic reviews

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The king's speech   photos.

England's Prince Albert (Colin Firth) must ascend the throne as King George VI, but he has a speech impediment. Knowing that the country needs her husband to be able to communicate effectively, Elizabeth (Helena Bonham Carter) hires Lionel Logue (Geoffrey Rush), an Australian actor and speech therapist, to help him overcome his stammer. An extraordinary friendship develops between the two men, as Logue uses unconventional means to teach the monarch how to speak with confidence.

Rating: R (Some Language)

Genre: History, Drama

Original Language: English

Director: Tom Hooper

Producer: Iain Canning , Emile Sherman , Gareth Unwin

Writer: David Seidler

Release Date (Theaters): Jan 28, 2011  wide

Release Date (Streaming): Apr 1, 2017

Box Office (Gross USA): $138.8M

Runtime: 1h 58m

Distributor: Weinstein Co.

Production Co: See-Saw Films, Bedlam Pictures

Cast & Crew

Colin Firth

King George VI

Geoffrey Rush

Lionel Logue

Helena Bonham Carter

Queen Elizabeth

King Edward VIII

Timothy Spall

Winston Churchill

Derek Jacobi

Archbishop Cosmo Lang

Jennifer Ehle

Myrtle Logue

Anthony Andrews

Stanley Baldwin

Claire Bloom

Wallis Simpson

Michael Gambon

King George V

David Seidler

Screenwriter

Executive Producer

Mark Foligno

Harvey Weinstein

Bob Weinstein

Iain Canning

Emile Sherman

Gareth Unwin

Danny Cohen

Cinematographer

Tariq Anwar

Film Editing

Eve Stewart

Production Design

Alexandre Desplat

Original Music

Leon McCarthy

Art Director

Set Decoration

Jenny Beavan

Costume Design

News & Interviews for The King's Speech

RT on DVD & Blu-Ray: The King’s Speech and Rabbit Hole

Best of the Best Pictures!

RT’s Oscar Picks

Critic Reviews for The King's Speech

Audience reviews for the king's speech.

A true masterwork of modern cinema laced with exceptional acting and a story which makes for a nearly perfect period piece. One of the best films of the 21st Century by far.

The Duke Of York hires an unconventional speech therapist when faced with Royal duties in the burgeoning media age to help him with a stammer that prevents his public speaking. The premise behind The King's Speech is a rather dry one and the trailers themselves make it seem to be a cross between The Madness Of King George and Pygmalion, but thanks to some winning performances and an interesting script portraying a behind the scenes window onto recent history it transcends the traditional comedy of manners formula that nearly all British films seem obliged to follow. Colin Firth's portrayal of a man thrust into the public eye by events beyond his control is sublime and it's fascinating to see a snapshot of the man behind a public face completely controlled by propriety and social convention. There's a real warmth in his unlikely friendship with a brewer's son from Australia and the gentle humour and subtle direction makes a very refreshing change from the ADHD firework displays that seem to make up the vast majority of modern cinema. Maybe not the masterpiece its multi-award winning reputation suggests, but a quality cast and sensitive storytelling make for a fine lightly comic and insightful historical character study.

Please spell me out the "clichéd" and "formulaic" elements in The King's Speech, because even if it is a doubtful Academy Awards conqueror, Tom Hooper built a proper historical account about the struggle of a man to become a symbol of national resistance in imminent war times that were about to shape the world. It has been accused of being "predictable" as well. Maybe that's because the story was based on true events? The art of cinema retelling true stories resides in the ability to properly, yet respectfully carry on the task of dramatization, one of the main successes of <i>The King's Speech</i>. I applaud the performances and the execution. Dialogue handling was impeccable, and the cinematography was worthy of a disciple of Carol Reed, capturing the size of the scenarios, the tension of the situations and the psychological difficulties faced by King George VI. I wonder, therefore, what would the opinion of the audiences be if this had been a film directed by Carol Reed in the 40s. Perhaps they would have been quicker to applaud. Do not let the debated Academy Awards be distractions to you. 78/100

It's the sign of a talented director that a bunch of scenes of people talking (or stammering) in rooms can look cinematic.

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The King's Speech

Winner of four Academy Awards®, this brilliant film stars Colin Firth as King George VI who desperately tries to overcome his stutter. more

Winner of four Academy Awards®, this brilliant film stars Colin F ... More

Starring: Colin Firth Geoffrey Rush Helena Bonham Carter

Director: Tom Hooper

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Winner of four Academy Awards®, this brilliant film stars Colin Firth as King George VI who desperately tries to overcome his stutter.

Starring: Colin Firth Geoffrey Rush Helena Bonham Carter Guy Pearce Timothy Spall

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"The King's Speech" tells the story of a man compelled to speak to the world with a stammer. It must be painful enough for one who stammers to speak to another person. To face a radio microphone and know the British Empire is listening must be terrifying. At the time of the speech mentioned in this title, a quarter of the Earth's population was in the Empire, and of course much of North America, Europe, Africa and Asia would be listening — and with particular attention, Germany.

The king was George VI. The year was 1939. Britain was entering into war with Germany. His listeners required firmness, clarity and resolve, not stammers punctuated with tortured silences. This was a man who never wanted to be king. After the death of his father, the throne was to pass to his brother Edward. But Edward renounced the throne "in order to marry the woman I love," and the duty fell to Prince Albert, who had struggled with his speech from an early age.

In "The King's Speech," director Tom Hooper opens on Albert ( Colin Firth ), attempting to open the British Empire Exhibition in 1925. Before a crowded arena and a radio audience, he seizes up in agony in efforts to make the words come out right. His father, George V ( Michael Gambon ), has always considered "Bertie" superior to Edward ( Guy Pearce ), but mourns the introduction of radio and newsreels, which require a monarch to be seen and heard on public occasions.

At that 1925 speech, we see Bertie's wife, Elizabeth (Helena Bonham Carter), her face filled with sympathy. As it becomes clear that Edward's obsession with Wallis Simpson (Eve Best) is incurable, she realizes her Bertie may face more public humiliation. He sees various speech therapists, one of whom tries the old marbles-in-the-mouth routine first recommended by Demosthenes. Nothing works, and then she seeks out a failed Australian actor named Lionel Logue ( Geoffrey Rush ), who has set up a speech therapy practice.

Logue doesn't realize at first who is consulting him. And one of the subjects of the film is Logue's attitude toward royalty, which I suspect is not untypical of Australians; he suggests to Albert that they get on a first-name basis. Albert has been raised within the bell jar of the monarchy and objects to such treatment, not because he has an elevated opinion of himself but because, well, it just isn't done. But Logue realizes that if he is to become the king's therapist, he must first become his friend.

If the British monarchy is good for nothing else, it's superb at producing the subjects of films. "The King's Speech," rich in period detail and meticulous class distinctions, largely sidesteps the story that loomed over this whole period, Edward's startling decision to give up the crown to marry a woman who was already divorced three times. Indeed, the Duke and Duchess of Windsor (as they became) would occupy an inexplicable volume of attention for years, considering they had no significance after the Duke's abdication. The unsavory thing is that Wallis Simpson considered herself worthy of such a sacrifice from the man she allegedly loved. This film finds a more interesting story about better people; Americans, who aren't always expert on British royalty, may not necessarily realize that Albert and wife Elizabeth were the parents of Queen Elizabeth II. God knows what Edward might have fathered.

Director Tom Hooper makes an interesting decision with his sets and visuals. The movie is largely shot in interiors, and most of those spaces are long and narrow. That's unusual in historical dramas, which emphasize sweep and majesty and so on. Here we have long corridors, a deep and narrow master control room for the BBC, rooms that seem peculiarly oblong. I suspect he may be evoking the narrow, constricting walls of Albert's throat as he struggles to get words out.

The film largely involves the actors Colin Firth, formal and decent, and Geoffrey Rush, large and expansive, in psychological struggle. Helena Bonham Carter, who can be merciless (as in the "Harry Potter" films), is here filled with mercy, tact and love for her husband; this is the woman who became the much-loved Queen Mother of our lifetimes, dying in 2002 at 101. As the men have a struggle of wills, she tries to smooth things (and raise her girls Elizabeth and Margaret). And in the wider sphere, Hitler takes power, war comes closer, Mrs. Simpson wreaks havoc, and the dreaded day approaches when Bertie, as George VI, will have to speak to the world and declare war.

Hooper's handling of that fraught scene is masterful. Firth internalizes his tension and keeps the required stiff upper lip, but his staff and household are terrified on his behalf as he marches toward a microphone as if it is a guillotine. It is the one scene in the film that must work, and it does, and its emotional impact is surprisingly strong. At the end, what we have here is a superior historical drama and a powerful personal one. And two opposites who remain friends for the rest of their lives.

Note: The R rating refers to Logue's use of vulgarity. It is utterly inexplicable. This is an excellent film for teenagers.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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The King's Speech (2010)

Rated R for language

118 minutes

Directed by

• David Seidler

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The King's Speech

  R | biographical dramas | 1 HR 59 MIN | 2010

When his brother abdicates, George VI reluctantly dons the crown. Though his stutter soon raises concerns about his leadership skills, King George VI turns to an unconventional speech therapist, Lionel Logue, and the two forge a friendship.

The King's Speech (2010)

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The King's Speech streaming: where to watch online?

Currently you are able to watch "The King's Speech" streaming on Max Amazon Channel, Starz Apple TV Channel. It is also possible to buy "The King's Speech" on Apple TV, Amazon Video, Vudu, Microsoft Store, Google Play Movies, YouTube, AMC on Demand as download or rent it on Apple TV, Amazon Video, Google Play Movies, YouTube, Vudu, Microsoft Store, Spectrum On Demand online.

Where does The King's Speech rank today? The JustWatch Daily Streaming Charts are calculated by user activity within the last 24 hours. This includes clicking on a streaming offer, adding a title to a watchlist, and marking a title as 'seen'. This includes data from ~1.3 million movie & TV show fans per day.

Streaming charts last updated: 9:23:56 PM, 03/30/2024

The King's Speech is 4720 on the JustWatch Daily Streaming Charts today. The movie has moved up the charts by 2061 places since yesterday. In the United States, it is currently more popular than Unpregnant but less popular than Second in Command.

The King's Speech tells the story of the man who became King George VI, the father of Queen Elizabeth II. After his brother abdicates, George ('Bertie') reluctantly assumes the throne. Plagued by a dreaded stutter and considered unfit to be king, Bertie engages the help of an unorthodox speech therapist named Lionel Logue. Through a set of unexpected techniques, and as a result of an unlikely friendship, Bertie is able to find his voice and boldly lead the country into war.

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Streaming Charts The JustWatch Daily Streaming Charts are calculated by user activity within the last 24 hours. This includes clicking on a streaming offer, adding a title to a watchlist, and marking a title as 'seen'. This includes data from ~1.3 million movie & TV show fans per day.

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The King's Speech – review

S ome films are known as "game-changers". This is not one of those films. It is a don't-change-the-game-er, or yet a jolly-well-change-it-back-er: a traditionally mounted, handsomely furnished British period movie, available at a cinema near you in dead-level 2D. Set in the 1920s and 30s, it is populated by that sort of well-suited patrician Englishman of yesteryear who drinks spirits in the middle of the day, whose middle and index fingers are rarely to be seen without an elegant cigarette interposed, and who pronounces the word "promise" as "plwomise" (try it).

Written by David Seidler and directed by Tom Hooper, The King's Speech is a richly enjoyable, instantly absorbing true-life drama about the morganatic bromance between introverted stammerer King George VI and his exuberant Australian speech therapist Lionel Logue: an affair brokered by George's shrewd wife in her pre-Queen-Mum incarnations as the Duchess of York, and then Queen Elizabeth. These characters are performed with pure theatrical gusto by Colin Firth as the miserably afflicted monarch, Geoffrey Rush as the twinkly eyed speech coach and Helena Bonham Carter as the Queen who has to learn to like Logue by overcoming her own snobbery – which she incidentally never troubles to disguise as shyness.

As well as this, the movie is an intriguing, if slightly loaded new perspective on the abdication crisis of 1936. Above all, it's a smart anti-Pygmalion. Like Shaw's Eliza Doolittle, the poor King as a younger man is forced to speak with his mouth full of marbles, and comes close to Eliza's fate of swallowing one.

But where she had to smarten up and talk proper, George VI (formerly the Duke of York, always known as "Bertie") has to move in the other direction: he has to loosen up, be less formal, less clenched, less clinically depressed. The movie cleverly casts a new light on the dysfunctional tremor at the heart of Britain's royal family, and cheekily suggests there was a time  when a British monarch experimented with psychoanalysis, disguised as   speech therapy.

Firth's face is a picture of misery in the opening scene, under his top hat, as if attending his own funeral. It is his first public appearance, required to speak through a microphone to vast crowds at the empire exhibition at Wembley stadium, and via live radio to the nation. His stammer means he can hardly get a word out, and the nation cringes with embarrassment. His formidable father, played by Michael Gambon with England's gruffest beard, makes clear to him that this is a new media age. It's not just a matter of looking frightfully regal on a horse, the monarch has to be able to master the radio microphone. Spectacle must not be replaced by dead air.

This is where Lionel Logue comes in – a bullish Australian with bohemian manners and shabby premises on Harley Street. He is a failed actor who is everywhere patronised as a colonial, especially by the toffee-nosed English theatrical types for whom he still hopefully auditions. We see him trying out for an amateur company by doing Richard III's "winter of our discontent" soliloquy. (Might Hooper and Seidler have considered making Logue do the "popinjay" speech by Hotspur from Henry IV Part One – the Shakespeare character traditionally played as a stammerer? Too obvious?) In his script, Seidler creates sharp exchanges as Logue fearlessly barges through the pompous royal formality that's all part of the problem, cheerfully deriding his previous medical advisers: "They're all idiots!" "They've been knighted!" splutters Bertie. "Makes it official then, doesn't it?" Slowly, Bertie opens up to his new friend about his unhappy childhood, and doesn't notice how his speech is improving.

The crisis comes when Logue gets too close to his patient, and Rush shows how "red carpet fever" is getting the better of him: he even affects some anti-colonial hauteur in dismissing the ambitions of Edward's mistress, Mrs Simpson, scoffing at the idea of "Queen Wallis of Baltimore".

Meanwhile, the abdication means poor, stuttering Bertie has to shoulder the ultimate burden while "Herr Hitler" is whipping up the stormclouds of war. The nation needs a king who can rally the forces of good in a clear, inspiring voice. Are Bertie and Lionel up to the job?

As well as the three leads, there are two tremendous supporting turns: Guy Pearce is a terrific Edward, the smooth, obnoxious bully who mocks Bertie's stammer and, marooned in Sandringham, yearns for phone sex with Mrs Simpson – what he ickily calls "making our own drowsies". Gambon has two great scenes as George V: first as the robust patriarch, barking orders at his quailing son, and then – the sudden decline is a modest coup du cinéma – incapable and on the verge of dementia, mumbling and maundering as his privy councillors make him sign away his executive responsibility.

Not everyone's going to like this film: some may find it excessively royalist and may, understandably, feel that it skates rather too tactfully over Bertie and Elizabeth's initial enthusiasm for appeasement and Neville Chamberlain. In this version, Chamberlain hardly features at all – we appear to pass directly from Stanley Baldwin's resignation to the sudden appearance of First Lord of the Admiralty Winston Churchill, jowl-quiveringly, sinew-stiffeningly played by Timothy Spall – always giving advice and apparently permitted to wield a lit cigar in the sovereign's presence. But The King's Speech proves there's fizzing life in old-school British period dramas – it's acted and directed with such sweep, verve, darting lightness. George VI's talking cure is gripping.

• Colin Firth
• Helena Bonham Carter
• Drama films
• Period and historical films

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The King's Speech – review

Colin Firth has left his posh acting peers in the dust. Give him the Oscar for The King's Speech now

The King's Speech: How George VI's simple domesticity made him the king his country needed in time of war

The King's Speech: How clever sets create a compelling picture of 1930s London

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How to watch The King’s Speech movie

Revisit Colin Firth's Academy Award-winning performance ahead of Oscar season.

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This time of year is teeming with festive content, from classics like Love Actually to original Christmas content on streaming land. But it's also Oscar season, which means studios have been putting out their best offerings in the hopes of bagging an Academy Award.

One film that made waves at the ceremony when it first came out in 2010 is The King's Speech. Not only did it bag 12 nominations, but it also earned Colin Firth his first, and to date only, win for Best Actor.

Firth stars as King George VI, while Geoffrey Rush is Lionel Logue, the Australian self-taught speech therapist who helps him overcome his stutter when he ascends the thrones following his brother's (Guy Pearce) abdication. Helena Bonham Carter plays his wife and the late Queen Mother, Elizabeth.

If you're looking for a break from all the Christmas films as you settle in front of the TV one of these cold evenings, this is a strong contender.

But how and where can you watch it? Read on to find out.

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How to watch The King's Speech movie

There are a few ways you can watch The King's Speech.

Currently, the film is not slated to be shown on linear TV. That means you won't be able to catch it on the usual broadcasting channels this Christmas. However, there are a few ways you can watch it via streaming. More on that below.

Is The King's Speech on Netflix?

Yes! The King's Speech is available on Netflix UK. All you need to watch it is a subscription to the streamer itself, or to Sky Glass or Virgin Media Stream.

Unfortuntatley for those across the pond, the film isn't available on Netflix US.

Where else can I watch The King's Speech?

The film is also available on Disney Plus . You can sign up to Disney Plus for £7.99 a month or £79.90 for a year .

You can also rent and buy it via Amazon Prime Video . It costs £3.49 to rent, and £5.99 to buy.

Sign up for Netflix from £6.99 a month . Netflix is also available on Sky Glass and Virgin Media Stream .

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The King's Speech

Cast & crew.

Colin Firth

King George VI

Geoffrey Rush

Lionel Logue

Helena Bonham Carter

Queen Elizabeth

King Edward VIII

Timothy Spall

Winston Churchill

Superb drama about overcoming fears is fine for teens.

• Average 8.6
• Reviews 305

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© UK Film Council / Speaking Film Productions Limited 2010

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Movie Review | 'The King’s Speech'

The King’s English, Albeit With Twisted Tongue

By Manohla Dargis

• Nov. 25, 2010

British films that make it to American screens these days often fall into two distinct niches: life is miserable and life is sweet (to borrow a title from the director Mike Leigh, who oscillates between the two). Given its quality headliners and high commercial profile (ding-dong, is that Oscar calling?), it’s no surprise that “The King’s Speech,” a buddy story about aggressively charming opposites — Colin Firth as the stutterer who would be king and Geoffrey Rush as the speech therapist — comes with heaping spoonfuls of sugar.

The story largely unfolds during the Great Depression, building to the compulsory rousing end in 1939 when Britain declared war on Nazi Germany, world calamities that don’t have a patch on the urgent matter of the speech impediment of Albert Frederick Arthur George (Mr. Firth). As a child, Albert, or Bertie as his family called him, the shy, sickly second son of King George V (Michael Gambon, memorably severe and regal), had a stutter debilitating enough that as an adult he felt compelled to conquer it. In this he was aided by his wife, Elizabeth (a fine Helena Bonham Carter), a steely Scottish rose and the mother of their daughters, Elizabeth, the future queen (Freya Wilson), and Margaret (Ramona Marquez).

Albert meets his new speech therapist, Lionel Logue (Mr. Rush), reluctantly and only after an assortment of public and private humiliations. (In one botched effort, a doctor instructs Albert to talk with a mouthful of marbles, a gagging endeavor that might have altered the imminent monarchical succession.) As eccentric and expansive as Albert is reserved, Logue enters the movie with a flourish, insisting that they meet in his shabby-chic office and that he be permitted to call his royal client, then the Duke of York, by the informal Bertie. It’s an ideal odd coupling, or at least that’s what the director Tom Hooper would have us believe as he jumps from one zippy voice lesson to the next, pausing every so often to wring a few tears.

To that generally diverting end, Albert barks and brays and raps out a calculatingly cute string of expletives, including the four-letter kind that presumably earned this cross-demographically friendly film its R. With their volume turned up, the appealing, impeccably professional Mr. Firth and Mr. Rush rise to the Acting occasion by twinkling and growling as their characters warily circle each other before settling into the therapeutic swing of things and unknowingly preparing for the big speech that partly gives the film its title. Before you know it, Elizabeth (Ms. Bonham Carter), the future dumpling known as the Queen Mother, is sitting on Bertie’s chest during an exercise while he lies on Logue’s floor, an image that is as much about the reassuring ordinariness of the royals as it is about Albert’s twisting tongue.

It isn’t exactly “Pygmalion,” not least because Mr. Hooper has no intention of satirizing the caste system that is one of this movie’s biggest draws. Unlike “The Queen,” a barbed look at the royal family after the death of Diana, Princess of Wales, “The King’s Speech” takes a relatively benign view of the monarchy, framing Albert as a somewhat poor little rich boy condemned to live in a fishbowl, an idea that Mr. Hooper unwisely literalizes by overusing a fisheye lens. The royals’ problems are largely personal, embodied by King George playing the stern 19th-century patriarch to Logue’s touchy-feely Freudian father. And while Albert initially bristles at Logue’s presumptions, theirs is finally a democracy of equals, an angle that makes their inequities go down in a most uneventful way.

Each character has his moments, instances when Bertie the closed book tentatively opens and Logue’s arrogance gets away from him, but both are too decent, too banal and the film too ingratiating to resonate deeply. Albert’s impediment certainly pales in comparison with the drama surrounding his older, popular brother, David, later King Edward VIII (a fantastic Guy Pearce), and his married American divorcée, Mrs. Wallis Simpson (Eve Best). After King George V dies, David assumes the crown and continues to carry on with Mrs. Simpson, a liaison that, because of its suggestively perverse power dynamics — at a party, she orders the new king (yoo-hooing “David”) to fetch her booze — hints at a more interesting movie than the one before you.

That film does have its attractions, notably in its two solid leads and standout support from Mr. Pearce. Mercurially sliding between levels of imperiousness and desperation, he creates a thorny tangle of complications in only a few abbreviated scenes, and when his new king viciously taunts Bertie, you see the entirety of their cruel childhood flashing between them. By the time he abdicates in 1936, publicly pledging himself to Mrs. Simpson (“the woman I love”), turning the throne over to King George VI, Edward has a hold on your affections. Those would surely lessen if the film tagged after him when he and Mrs. Simpson subsequently took their post-abdication tour around Germany, where they had tea with Hitler and the Duke returned the Führer’s Nazi salute. Like many entertainments of this pop-historical type, “The King’s Speech” wears history lightly no matter how heavy the crown.

The King’s Speech

Opens on Friday in New York and Los Angeles.

Directed by Tom Hooper; written by David Seidler; director of photography, Danny Cohen; edited by Tariq Anwar; music by Alexandre Desplat; production design by Eve Stewart; costumes by Jenny Beavan; produced by Iain Canning, Emile Sherman and Gareth Unwin; released by the Weinstein Company. Running time: 1 hour 58 minutes.

WITH: Colin Firth (King George VI), Geoffrey Rush (Lionel Logue), Helena Bonham Carter (Queen Elizabeth), Guy Pearce (King Edward VIII), Jennifer Ehle (Myrtle Logue), Eve Best (Wallis Simpson), Freya Wilson (Princess Elizabeth), Ramona Marquez (Princess Margaret), Claire Bloom (Queen Mary), Derek Jacobi (Archbishop Cosmo Lang), Michael Gambon (King George V), Timothy Spall (Winston Churchill) and Anthony Andrews (Stanley Baldwin).

“The King’s Speech” is rated R (Under 17 requires accompanying parent or adult guardian). Coarse language.

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• Us Weekly Thelma Adams A charming, personal period drama.
• Fort Worth Star-Telegram/DFW.com Christopher Kelly A polite, occasionally rousing, and more often than not, boring affair.
• New York Post Lou Lumenick The King's Speech is the rare work of art that's also an immense crowdpleaser.
• AV Club Tasha Robinson The King's Speech is admirably free of easy answers and simple, happy endings; it's a skewed, awards-ready version of history, but one polished to a fine, satisfying shine.
• Entertainment Weekly Lisa Schwarzbaum The King's Speech is simultaneously cozy and majestic.
• San Diego Reader David Elliott The film is richly rooted, with splendid trappings, including pea-soup fogs. For all the pomp and protocol, it's an intimate story about a scared man who must find his voice if he is to rise, in regal stature, above his epaulets.
• St. Louis Post-Dispatch Joe Williams The King's Speech is the epitome of prestige cinema, an impeccably crafted and emotionally compelling drama that deserves the many laurels it surely will receive.
• Film Comment Magazine Scott Foundas Hooper...has become something of a specialist in exhuming British history from the mothballs of Masterpiece Theatre.
• Newsday Rafer Guzman A powerful back story does not necessarily improve a movie, but The King's Speech has a pretty irresistible one. It might even end with a dramatic night at the Oscars in February.
• Detroit News Tom Long Classic, rousing entertainment loaded with both humor and poignancy.
• New York Times Manohla Dargis Too ingratiating to resonate deeply.
• IFC.com Matt Singer It's hard to imagine a much better film being made from this material.
• Beliefnet Nell Minow The true story of a man who had to literally and metaphorically find his voice, with in a very real sense the fate of the world depending on it.
• Austin Chronicle Marc Savlov he King's Speech brings a country's amorphous fear of war and a sudden king's dread of his hesitant supremacy into perfect, uncommon focus.
• Miami Herald Connie Ogle Not merely a spot-on period piece; it's also a heartfelt study in the shadings of courage, a film about duty and friendship that's often warmly funny and sometimes painful to watch.
• Arizona Republic Bill Goodykoontz OK, sure, "The King's Speech" obviously is feel-good Oscar bait, but who cares? It's also a terrific movie with two fantastic performances at its heart.
• Shockya.com Perri Nemiroff The combination of spectacular performances and masterful direction turns this true story into an all-consuming emotional experience.
• Denver Post Lisa Kennedy It is an intelligent, winning drama fit for a king -- and the rest of us. And this year, there were far too few of those coming from Hollywood.
• Seattle Times Moira MacDonald "The King's Speech" is old-fashioned filmmaking at its best: a good story, elegantly told, and a joy to watch.
• Houston Chronicle Amy Biancolli The King's Speech is a warm, wise film -- the best period movie of the year and one of the year's best movies, period.

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