Film Review – Young Washington (2026)

      **Young Washington, 2026.**

      Directed by Jon Erwin.

      Starring William Franklyn-Miller, Ben Kingsley, Andy Serkis, Kelsey Grammer, Joel Smallbone, Mary-Louise Parker, Mia Rodgers, Jonno Davies, Leo Hanna, Angus Castle-Doughty, Fearghal Geraghty, Ryan Begay, John Foss, Michael Benz, Martijn Lakemeier, Will Joseph, Alfie Kiely, Clement Toyon, and Nicholas Antoniou.

      **SYNOPSIS:**

      A young George Washington grapples with war, betrayal, and difficult decisions that will shape him as a leader.

      In what is likely Angel Studios' most ambitious and well-funded project (though not necessarily extravagant or comparable to other big-budget films), it is deeply disappointing that *Young Washington* feels more like a monotonous history lesson for middle school classrooms than a cinematic experience. The pervasive and jarring use of generative AI does nothing to enhance the situation.

      Director Jon Erwin’s reputation as a somewhat cheesy evangelical filmmaker is evident, insinuating divine protection for George Washington during battles. Even if a different actor portrayed a young Washington, the stiff delivery by William Franklin-Miller and his tendency to pose rather than embody the character would still render it absurd, revealing Angel Studios’ tendency toward propaganda.

      While the film is somewhat less focused on religious themes, it concludes with Kelsey Grammer promoting the familiar pay-it-forward scheme to boost box office performance, extolling the virtues of America’s ideals and freedom. This perspective is troubling, considering the nation's current reality is quite the opposite. It illustrates a larger issue with the film: it is an excruciatingly dull and oversimplified illustration of the French and Indian War, lacking a genuine narrative or character development for George Washington. The film merely skims through historical events, some of which feel inauthentic, seeking to illicit feelings of patriotism rather than provoke thoughtful engagement.

      At its core, the film portrays George Washington’s determination from a young age to defy the notion that, as a Virginian colonist without land or education, he has no future in the British military. His resolve is influenced by his brother Lawrence (John Foss), who teaches him chess, demonstrating how a pawn can defeat a king. This motif is repeated excessively by multiple characters, with screenwriters Jon Erwin, Tom Provost, and Diederik Hoogstraten seeming to either challenge viewers’ patience or aim to drive them to madness. The relentless reiteration of “this land is my land” adds further frustration to the viewing experience.

      Before long, Young Washington, in his quest for recognition from the British, convinces Ben Kingsley’s Robert Dinwiddie to allow him to lead an expedition to survey Ohio, an area occupied by Native Americans and threatened by French fort constructions. While George exhibits courage and a desire to prove himself, he is also naively inexperienced, unaware that the entire mission is a strategic maneuver; if successful, the British would take credit, and if it fails, he becomes an easy scapegoat.

      This marks the second war film in recent weeks focusing on an inexperienced central character whose actions lead to casualties, although here it forms a simplistic character arc with known outcomes for George Washington. There are subplots involving George’s mother (Mary-Louise Parker), a British general (Andy Serkis), and an unattainable romantic interest (Mia Rodgers), which either lead nowhere or are abandoned entirely. These notable supporting performances offer some acting merit amid what is otherwise a lackluster presentation.

      Some action scenes provide occasional excitement, though their bloodless portrayal diminishes impact. Both the French and the natives are depicted without depth or regard. It’s important to reiterate that the obvious use of generative AI undermines immersion, appreciably detracting from what little appeal the film holds. *Young Washington* struggles on its own without that additional detriment.

      There is potential in chronicling George Washington’s transformation from a novice to a unifying leader who challenged British authority, and some respect can be accorded to the human-crafted elements of battle scenes. However, narratively, *Young Washington* lacks ambition, amounting to an Angel Studios-approved history lesson. It’s a movie that deserves to be overlooked.

      **Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★**

      Robert Kojder