In a post 9/11 world, James Bond had to subside his goofy, cheeky characteristics to adjust to a serious, bleaker world. It’s worked out fairly well for 007, but it’s hard to not miss that old silly secret agent. The one who could battle weirdly memorable villains and bombastic set pieces with ease and bravura, and who could sneak a pun or two between blows.
Director Matthew Vaughn very much feels that way, and with his latest, Kingsman: The Secret Service, he tries to bring that lovable spirit back to the cinema. While he could very easily have failed, Vaughn’s every confident, gleeful stride makes it all work beautifully.
Marking his second adaptation of a Mark Miller graphic novel after 2010’s Kick-Ass, Kingsman follows Eggsy Uwin (Taron Egerton), an intelligent but un-driven street thug who receives his calling in life when secret agent Harry Hent (Colin Firth) decides to repay Eggy’s late father by making his son a member of the Kingman secret service. Aided with lethal class and an expertise in efficient fight tactics, Eggy’s training and adjustment to the Kingsman lifestyle is rigorous and unyielding, but when capitalist billionaire Valentine (Samuel L. Jackson) decides to bestow world domination, he’ll have to learn how to save the world in a few days time.
As much as Kick-Ass was Vaughn’s playful farce on the superhero origins saga replicated in films like 2002’s Spider-Man, Kingsman is, of course, a lark on the tongue-in-cheek spy films of the ‘80s. They’re highly aware of this of course, and make a point throughout to note that this is the case, to both their benefit and disadvantage. But through their self-aware parody, they wiggle in room for some delightfully R-rated spunk, where the limits are endless and the possibilities are always foul-mouthed, bloody and quick-fisted.
Vaughn’s latest is easily his most sure-handed film to date, even more so than his last, and ultimately better, Miller adaptation. Kingman is also, thankfully, thoroughly embraced in British culture and personality, much like last month’s Paddington. There’s always room for fine suits, good scotch and well manners in-between its parade of violence and masochism.
At the same time, however, it’s always apparent that the film is more directed from its influences than established by its own identity. Sure, it cements its universe and rules from the on-set, but its comparisons and similarities to other, some fairly-recent efforts like Wanted, Fight Club and Attack the Block, just to name a few, are not only distracting but make the effort feel disingenuous.
That said, however, Kingsman is never, for a second, less than entertaining. It’s good pace, well-humored tone is consistent and ever-giving, and Vaughn’s ability to balance sophomoric humor with British class is impeccable and impressive, truly the work of a confident, nicely adjusted filmmaker. Even if, especially towards the end, that sense of humor becomes more grading than endearing, except when it relates to delightfully ridiculous action scenes, which are always a ball.
At 54 and an Oscar by his side, one would not peg Firth as a rising action star, but he carries Vaughn’s film with elegance and well-guided assurance. He may not be doing all his own stunts — it’s apparent there’s some CG trickery during his spectacular fight sequences — but he hosts the good humored grace of the older Bond-esque universe with aplomb.
Of course, this is not Firth’s film but Egerton’s, who headlines his first feature here. At 25, Egerton gives his character a sophistication on found on the page, but also gives his character a subtlety and endearing aurora to Eggsy which would certainly not be found in the wrong performer’s hands. Jackson, too, is given one of his best supporting characters in years, relishing Valentine’s quirky mannerisms but not overdoing it like he is so prone to do. Props also should be given to Mark Hamill, who doesn’t quite get a lot of screen time but makes the most of every minute he’s on as Professor Arnold, a man who leads into all the craziness that happens.
Graced with smarts and style, Kingsman is an endlessly entertaining and electrifying crowd-pleaser. It also has one of the best blood-laced third acts since 2012’s The Cabin in the Woods. Thanks to Vaughn’s passion and talents both on screen and on the page —he also co-wrote the screenplay with his regular writing partner Jane Goldman — this feature excels as both a homage and parody to the Bond films of late. It winks and nods at their ad nauseam habits and cheesiness, but also pays respect to a genre Vaughn so clearly love. He successfully shakes things up again, but doesn’t stir up the ingredients.
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