DAVID (2025) review

written by: Brent Dawes and Phil Cunningham
produced by: Steve Pegram, Tim Keller, and Rita Mbanga
directed by: Brent Dawes and Phil Cunningham
rated: PG (for action/violence and some scary images)
runtime: 115 min.
U.S. release date: December 19, 2025

Last Easter, Angel Studios released “The King of Kings,” an animated feature that oddly told the story of Jesus Christ from the perspective of author Charles Dickens. It was definitely a different approach and probably the only time that a Biblical tale included the whimsical antics of a cartoon cat. Now, for Christmas, the studio is releasing “David, it’s not a sequel nor is it about the birth of Christ, but rather a kid-friendly look at the Old Testament character who was considered “a man after God’s own heart” – known primarily for standing up to a giant. Writer/directors Brent Dawes and Phil Cunningham obviously include that noteworthy moment of faith, yet also go beyond it, telling a Cliff Notes version of David’s life, showing a life of loyalty and devotion padded with musical numbers.

When the prophet Samuel (Brian Stivale) visits the home of Jesse in Bethlehem, the whole family is surprised when he anoints the young shepherd, David (voiced as a child by Brando Engman), as the future and third King of Israel. His older brothers are skeptical or jealous, and his precocious little sister, Zeruiah (Sloan Muldown), is excited that this will one day make her a princess. While David is unsure of his destiny, his mother, Nitzevet (Miri Mesika), has faith that this is somehow meant to be. However, Samuel cautions that the current King, Saul, cannot yet learn of this, because it might endanger David’s life.

When David eventually meets the troubled King Saul (Adam Michael Gold), the boy soothes the king’s mind with his gift of music and charms him with his talent and boldness. Not long after, David proves himself to Saul and surprises all of Israel when he takes out Goliath (Kamran Nikhad), a behemoth Philistine soldier under King Achish (Asim Chaudhry), who challenged and taunted the Israelites for days. After such a surprising victory, David becomes a hero and an inspiration to all, which triggers Saul’s already present jealousy.

A musical number fast-forwards the story into the near future, with David (voiced by Phil Wickham) now a young adult and leader within the kingdom. King Saul’s lust for power has only increased, especially with his son, Jonathan (Mark Jacobson), showing more respect and appreciation for David. Saul became increasingly insecure, accusing David of plotting to take his throne and setting out to frame him for an assassination attempt, which led David to flee into exile in Ziklag, a Philistine town in southern Israel. During this time, David and his small group of followers must also protect their families from the nomadic desert-dwelling Amalekites. As he struggles to understand God’s purpose for him, David eventually finds supporters who will follow him and inspire him to return home and lead them in an inevitable fight against the Philistine army and the Amalekites.

What’s notable right away in “David” is the decision to break into song and breeze past any development that would make viewers believe that here is a boy who could stand up to a giant soldier. The Old Testament’s First Book of Samuel breaks down how young David was a shepherd who protected his family’s flock of sheep. If any strayed or were injured, he would go after them and bring them back. If perceived predators were getting close to the flock, like a lion or bear, he would attack and defend them with his sling or staff. This is shown in a family-friendly manner, with a cute lamb befriending David and one sequence in which he fends off a lion. But it feels like there was a decision to breeze through the daily routine and character development in order to get to that “David and Goliath” moment.

We get to the face-off with Goliath in the Valley of Elah, at around 50 minutes into the feature, and it’s sadly a letdown – that is, if you’re familiar with the source material. There’s an opportunity to frame the confrontation with intensity and excitement, but there’s nothing dynamic about the way Dawes and Cunningham present it. It all goes down rather quickly, and the part where David used Goliath’s sword to behead the 9-foot giant isn’t even included. David slings a rock, which lands between the giant’s eyes, and he falls forward. It’s not even really established that the antagonist is dead. We just cut to everyone’s reaction. While this affirms that the target audience skews young, it also shows how limiting the feature is and that Dawes and Cunningham don’t trust the audience to handle such Biblical violence. After all, wouldn’t it be even more impressive if such a young boy could lift Goliath’s sword?

What’s also surprisingly underwhelming is Goliath’s character design. He really doesn’t look threatening or formidable, more like Hades from Disney’s “Hercules,” and the voice acting doesn’t match what an imposing figure would sound like. It all feels too sanitized and kind of limp.

Once that showdown is over, “David” moves on into less familiar territory for the average viewer. The focus shifts to Saul’s struggles, complicating David’s standing with the king. This is where the dramatic stakes should be established, but there isn’t a compelling viewing experience that aligns with the choices and conflicts David faces. That could be because the songs injected into these moments often lessen the dramatic weight that should clearly be there – the second half veers into talky territory, lacking an engaging narrative and compelling stakes.

Each time a song kicks in, it feels like it’s included to extend the running time. The songs aren’t bad or grating, but they’re not very memorable, and at least one is used as a reprise. An animated Biblical musical can be great, and 1998’s “The Prince of Egypt” is a good example of a compelling blend of infectious songs and impressive animation design. It’s commendable that Angels Studios is taking its first stab at an animated musical, but it unfortunately doesn’t entirely succeed.

Credit must be given to the production team of “David”, many of whom travelled to Israel and visited locations to “draw” inspiration for the movie’s look and feel. It paid off because the feature’s settings, architecture, and costume designs feel authentic, even if some of the characters feel a bit too exaggerated – that is, except for our titular hero, who winds up looking like a male model, regardless of age.

“David” really wants to inspire with its message of courage and freedom, but it’s just not very compelling and feels like something’s missing here. At least it’s not cheesy or derivative, and it obviously knows its demographic.

RATING: **