Before digging into the film’s critique, there are three things to address about this film. David is a religious animated, musical movie, which caters to a Christian audience. Secondly, this film is out now, at a questionable time, while the Israeli-Palestine conflict formally ended in October 2025. Without a doubt, it begs the question of why Angel Studios would put out a very pro-Israel movie this Christmas/holiday season. Lastly, this is a film that sacrifices and sanitizes historical and biblical facts to be watchable for children—much like Disney’s fairy tales.
Setting aside the film’s overt religious and political messaging, this Christian retelling of the biblical story of David’s rise to become King of Israel is competently produced. The story follows David, a young shepherd, musician and poet from Bethlehem who is destined to become Israel’s next king. As the Philistine threat looms, he sets out on a journey that challenges the authority of King Saul and seeks to show the Israelites that true strength does not lie in Saul’s rule, but in faith in God and liberation from their enemies.
Directors Phil Cunningham and Brent Dawes deliver polished animation through Cape Town-based Sunrise Animation Studios. The opening sequence is particularly striking, beginning with a butterfly drifting through the desert on the outskirts of Bethlehem before the camera moves into the introduction of David himself. Throughout the film, dynamic shot composition is used effectively to heighten key moments.
One of the early musical numbers is staged from a bird’s-eye perspective, following David and members of his village as they move through the streets below. Goliath’s introduction is handled thoughtfully by keeping him out of frame, relying instead on the heavy thud of his footsteps to convey his immense size. The transition from David’s youth to adulthood is smooth and clearly communicated. One of the larger action sequences evokes imagery reminiscent of The Lord of the Rings: The Two Towers, particularly the charge at Helm’s Deep. Wide, sweeping shots are used to capture the scale of the landscapes, adding visual impact to the film’s more ambitious moments.
“David is a good children’s movie, but not a perfect movie by any means.”
Delving more into the animation and art style, David chooses to go with a clay-like model for its characters. I could not take my eyes off how high-fidelity everyone’s hair moves in this movie, from the humans to the animals. At one point, David gets a lot of sand in his hair, and the sand particles look very realistic. Some of the shots also look photorealistic, almost making one of the dry vistas appear like a mountainous area seen in Death Stranding 2: On The Beach.
The pacing is largely effective, though trimming one or two scenes could have tightened the runtime into a cleaner, leaner 90-minute film. Overall, the moral is clear: stay true to who you are and place trust in God along the way. While the religious message will resonate most strongly with faith-based audiences, the theme of self-belief carries a more universal appeal. Comparisons have already been drawn between this film and The Prince of Egypt, although this take is noticeably less intense in tone.
The use of tapestry as a narrative device is a thoughtful touch. David’s mother, Nitzevet, speaks about weaving different pieces together to preserve history, an idea that reflects how many early civilizations passed down stories and knowledge through art. One tapestry even depicts Moses parting the Red Sea, serving as a subtle biblical Easter egg for attentive viewers.
The music and score play a significant role in elevating the film. The songs are written by Grammy Award winner Jonas Myrin, with the score composed by Joseph Trapanese, known for his work on Tron: Legacy and The Greatest Showman. The music brings a sense of scale and drama that lifts the film’s most emotional and action-driven moments. While the score may feel overly epic for a children’s film at times, it effectively heightens tension and conflict, particularly for adult viewers and cinephiles.
In both singing and voice acting, Phil Wickman and Brandon Engman deeply play adult and young David. Their singing and acting voices work, and command their presence to the character. Adam Michael Gold’s King Saul works for the mad king role he plays, going all out on the crazy when he is jealous. Miri Mesika as Nitzevet has a very angelic voice, bringing that Idina Menzel energy to her performance.
For the overall dialogue, the film uses a lot of Hebrew terms—something children’s religious films tend to shy away from. Again, this can be a hit-or-miss with general audiences, but it can be useful for Sunday school classes.
David is a good children’s movie, but not a perfect movie by any means. It only captures David’s best moments, rather than the full scope. Something about The Prince of Egypt’s storytelling and animation, its honest and gritty depiction, sets it apart. For families looking for a well-produced religious film this holiday season, this is worth watching.
