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King of the Hill

King of the Hill

Drama · History · 1993

Based on the Depression-era bildungsroman memoir of writer A. E. Hotchner, the film follows the story of a boy struggling to survive on his own in a hotel in St. Louis after his mother is committed to a sanatorium with tuberculosis. His father, a German immigrant and traveling salesman working for the Hamilton Watch Company, is off on long trips from which the boy cannot be certain he will return.

Movie details

King of the Hill

“When the world turns upside down, the trick is coming out on top.”

1993 Drama · History 1h 43m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

Based on the Depression-era bildungsroman memoir of writer A. E. Hotchner, the film follows the story of a boy struggling to survive on his own in a hotel in St. Louis after his mother is committed to a sanatorium with tuberculosis. His father, a German immigrant and traveling salesman working for the Hamilton Watch Company, is off on long trips from which the boy cannot be certain he will return.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over King of the Hill?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Steven Soderbergh

Written by

Steven Soderbergh

Jesse Bradford

Jesse Bradford

Aaron Kurlander

Jeroen Krabbé

Jeroen Krabbé

Mr. Kurlander

Lisa Eichhorn

Lisa Eichhorn

Mrs. Kurlander

Karen Allen

Karen Allen

Miss Mathey

Spalding Gray

Spalding Gray

Mr. Mungo

Elizabeth McGovern

Elizabeth McGovern

Lydia

C

Cameron Boyd

Sullivan

Court is in session

Put King of the Hill on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.