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Hello and welcome to the movie blog of author John DeFrank - FilmZ and Guy Sobriquet Malone - Researcher

Kingsman: The Golden Circle


Kingsman: The Golden Circle, reviewed by Guy S. Malone

In 2015, Kingsmen: The Secret Service sneaked into theaters with modest expectations and turned out to be an original, exciting, and fun skewering of spy films--James Bond meets Monty Python.  As a result, Kingsman: The Golden Circle arrived with great expectations--perhaps, unfairly, too great.  The most important carryover from the first film is that K:TGC never takes itself too seriously--it is a saving grace, really.  FilmZ and I wanted to like K:TGC in the worst way, and that's exactly how we liked it.  K:TGC is such good-natured fun that we can't find it in our hearts to hate it.  Yet the hackneyed, silly plot and pyrotechnic overkill wear thin over the course of a 2:21 runtime in which it seems nothing ended up on the cutting room floor.

A good example is the opening chase sequence that displays outstanding effects and imagination, but it's never a good sign when an action scene goes on so long that it becomes boring.  It pits our Kingsman hero, Eggsy (Taron Egerton) against old nemesis, Charlie (Edward Holcroft), a failed trainee for Her Majesty's Secret Service, now a cybernetic assassin in the employ of arch-villain Poppy (Julianne Moore).  Operating out of a kitschy 1950s-themed stronghold in the deep forest of Cambodia, Poppy is the mastermind of the largest worldwide drug cartel.  Her evil plan: distribute a poisoned product that will bring slow, painful death to all users unless world leaders decriminalize all recreational drugs.  If they accede to her demands--thus making her a legitimate businesswoman who can return to civilization--she will send out drones with the antidote.  Oh well, there have been dumber plots.  Poppy's first step: she has discovered the Savile Row tailor shop Kingsman as the front for the British Secret Service she tries to eliminate all of the Kingsmen at once, a plan that leaves only Eggsy and Merlin (Mark Strong)--the Kingsman version of Bondian tech wizard Q--alive.

Eggsy must abandon his love, Princess Tilde (Hanna Alström), and head off to the US with Merlin to unite with their American brother-organization, the Statesmen, whose cover is a distillery, led by Champagne, or Champ (Jeff Bridges).  Other Statesmen are Tequila (Channing Tatum), Ginger Ale (Halle Berry), and Whiskey (Pedro Pascal, channeling Burt Reynolds).  For some reason, the Statesmen have been holding a man they call The Lepidopterist," whom Eggsy and Merlin are shocked to learn is really Harry (Colin Firth), AKA Galahad, the greatest Kingman of all, who was killed--shot through the eye--in the first movie (a miracle brought about after that film grossed over $400 million worldwide).  Anyway, the Statesmen have discovered a way to heal such wounds with a sophisticated air splint--I know, I know--so Harry has lost only an eye and his memory.  Now, it is left to the remaining Kingsmen and the Statesmen to intrepidly and implausibly bring down Poppy and her plot.  And, in the process, free Elton John from servitude to Poppy--I know, I know.

Writer Matthew Vaughn can spin an action yarn, but his dialogue is often wooden and clunky, a trait that creates significant hurdles for Director Matthew Vaughn, who never fails to coax mediocre (or worse) performances from some very good actors.  In this case, feel sorry for 2014 Oscar-winner Julianne Moore's daffy Poppy and 2010 Oscar-winner Jeff Bridges' Rooster Cogburn parody.  Colin Firth (2011 Oscar winner), Halle Berry (2002 Oscar winner), and Mark Strong escape relatively unscathed only because they are playing caricatures as arch as their archetypes.  And the star, Taron Egerton, has his character, Eggsy, down pat; both likable and convincing.  Back to the dialogue: I am not a prude; the occasional F-bomb can add perfect seasoning to dialogue.  Note: I said, Seasoning.  Like salt.  Not slathered and forced where it doesn't belong, like the rube who pours ketchup on a steak dinner and slops it into the Cabernet.  (Have you ever been around that middle school boy who shoe-horns F-bombs into his conversations at inappropriate times, just for the sake of impressing you with how badass he is?)  On the plus side, as we said, K:TGC is played for both tongue-in-cheek and zany fun; the VFX and action choreography are imaginative and sometimes spectacular.  We hope that, should a third Kingsmen be made, Vaughn eschews the low-brow and returns to the surreal, infectious satire that made the original so fresh.
6.0 out of 10 on an Entertainment Scale
4.0 out of 10 on an Awards Scale (outside shot at VFX and some small, niche awards)


Victoria and Abdul


Victoria and Abdul Review by FilmZ

When it first showed up on the horizon, Victoria and Abdul seemed to be a plug and play Academy Awards contender: historical drama extolling racial diversity, directed by Stephen Frears (Philomena, Dangerous Liaisons), starring seven-time Oscar nominee (and once-winner) Dame Judy Dench, and backed by a distinguished award-winning cast and crew.  As blatant Oscar-grabs go, only Steven Spielberg's The Post, starring Meryl Streep and Tom Hanks surpasses among 2017 releases.  And yet, although a dish may have the finest ingredients and arrive at the table with a beautiful presentation and rich aroma, the meal itself turns out good but not great.

Victoria and Abdul begins with scenes juxtaposing late-19th Century British pageantry and Indian subcontinent squalor.  In London, the Empire is in full flourish, but inside the Royal House, we find an aging Queen Victoria (Dench) has lost the will to live.  She is jaded, bored, and her children are disappointments, particularly heir-apparent Bertie (Eddie Izzard).  Prime Minister Lord Salisbury (Michael Gambon in a cameo) is concerned, as is Victoria's staff, headed by Sir Henry Ponsonby (the late Tim Pigott-Smith).  Fate intervenes when word gets back to India that the Queen was highly complimentary of several carpets gifted to her.  In response, India decides to mint a special coin commemorating her Jubilee, and they choose Abdul (Ali Fazal) and Mohammed (Akeel Akhtar) to present it to her.  Under strict orders to refrain from eye contact with Her Majesty, Abdul can't help himself, and when Victoria returns the glance and takes in the tall, handsome stranger, her will to live is rekindled.  She bids Abdul and Mohammed stay as her personal footmen throughout the Jubilee, but soon Abdul's gentle nature and exotic stories win her heart and she orders the assignment to become permanent.  Abdul's sweet innocence charms the Queen (think Rasputin if he were beneficent and servile).  The more influence (and prestige and power) the Queen grants him, the more indignant and scandalized the Royal household becomes, the more obstinately loyal the Queen becomes to Abdul, the more the household plots to bring Abdul down.  From that point, the story shifts from Masterpiece to Lifetime.  In service to the plot, most are reduced to caricatures: Victoria is regally quirky, Abdul is pureness and light, the household members bring a variety of racist aristocrats.

The quality of Victoria and Abdul comes from its first-rate cast and its production values.  Judy Dench brings her expected A-game, as does Tim Pigott-Smith, sadly, in his last role.  More surprising are Ali Fazal's enchanting turn and Eddie Izzard's surprising invisibility beneath the mustache and bluster of Bertie.  Akhtar provides one of the most powerful scenes in the film, standing defiantly against a Royal attempt to wheedle and then intimidate.  The rest of the supporting cast deserves recognition, as well: Paul Higgins as the flummoxed Dr. Reid, Olivia Williams as the snobbish Lady Churchill, Fenella Woolgar as a skittish Miss Phipps.  Alan MacDonald's production design, Sara Finlay's Art Direction, and Consolata Boyle's costume design bring sumptuous verisimilitude to both turn-of-the-20th-Century Britain and India.  We were unaware of the source material, so it is difficult to tell whether Shrabani Basu's book or Lee Hall's screen adaptation is responsible for the one-dimensional cultural stereotypes that wear threadbare by the film's final act.  Given all of the style, it's unfortunate that the substance didn't measure up because, in the end, it's about the story.
7.5 out of 10 on an Entertainment Scale (averaging my 7.0 and Filmzarina's 8.0)
7.0 out of 10 on an Awards Scale -- Judy Dench has stiff competition for Best Actress, Tim Pigott-Smith possible for BSA, better chances for Production, Art, and Costume Design awards.
 
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