The world’s most intricate group of spies become that much more versatile in ‘Kingsman: The Golden Circle’. “Kingsman: The Secret Service” introduced the world to Kingsman, an independent, international intelligence agency operating at the highest level of discretion, whose ultimate goal is to keep the world safe. In “Kingsman: The Golden Circle,” our heroes face a new challenge. When their headquarters are destroyed and the world is held hostage, their journey leads them to the discovery of an allied spy organization in the US called Statesman, dating back to the day they were both founded. In a new adventure that tests their agents’ strength and wits to the limit, these two elite secret organizations band together to defeat a ruthless common enemy, in order to save the world, something that’s becoming a bit of a habit for Eggsy (Taron Egerton). ‘Kingsman: The Golden Circle’ is written and directed by Matthew Vaughn, and is rated R for sequences of strong violence, drug content, adult language throughout and some sexual material.
Matthew Vaughn’s 2014 surprise hit of the season, ‘Kingsman: The Secret Service’ was everything and more for an action comedy that introduced us to how cool this secret society can really be, in all of its gadgets and gizmos that bring up the rear of a taut shoot-em-up. For all of its positives and negatives, ‘The Golden Circle’ falls into the category that I refer to as ‘Sequelitis’. This refers to a series second chapter that is bigger in budget, overdone in celebrity cameos, and thrives off of the material that made the initial effort original in its depiction. This film definitely does all of this in a manner that feels like Vaughn just can’t help but show off his studio approved budget that is nearly twice of the 81 million that he was approved for in the first film. Kingsman doesn’t need all of this if the fun is still there, which for the most part I can say that ‘The Golden Circle’ is still an infectious good time that combines the pacing of a spy thriller with the fun atmosphere of a modern day comic book. But getting out of the shadow of its original, better structured predecessor is an inescapable trap that Vaughn places himself in and can’t find the secret door out.
Clocking in at nearly two and a half hours is certainly no easy feat for any film to accomplish, so as a screenwriter Vaughn has an uphill battle to climb with keeping the audience firmly paced while riding on the edge of their seats for some top budget theatrics in fight sequences. We’ll get to the latter in a bit, but the former gives us enough material in subplots and adversity for our fellow Kingsman to fill two movies. This feeling is made even more obvious with hiking across the globe multiple times during the film that doesn’t add up to the Kingsman’s American invasion within this plot. For my thought process, I would’ve left Firth’s return as an integral part of a possible third film, giving it time to breathe and effect the psychological growth of Eggsy for an entire film. It’s easy to find so much of this redundancy in exposition expendable, especially for that of Moore’s antagonist Poppy who overstays her welcome almost immediately. So much so that as the antagonist, the film forgets about her for nearly an hour before returning to these scenes only when it’s mandatory to advance the chase. The pacing feels particularly uneven between the second and third acts when we stick to one landscape mission for extended periods of time, giving us little room to breathe when a scene feels like it has run for far too long. It’s easy to see where you could cut a half hour off of this movie and not lose a thing, mainly because this introduction to the statesman feels like an origin story that the film isn’t fully committed to pursuing. Outside of Pascale’s Whiskey character, there’s very little impact or weight that any of them have to this chapter, making their introductions all the more time filler.
Where the material does work is in the underlying drug epidemic plot that Vaughn springs upon us almost halfway into the movie. I found this not only relatable to the current problems that are bending and breaking our own real world structure, but also responsibly bitter in the thought-provoking stance that Vaughn proposes to the audience watching at home. Matthew’s war on the current drug trade reveals how this problem, no matter how dirty or ineffective that it feels to some of us, is our problem, and it’s ours to deal with by our own compassion. This gives the film something more than just a typical action flick that many of us have come to see, and I always grade with the curve when a film that is supposed to be dumbed down can lean in from time to time with a poignant approach. The mentor approach from Eggsy to Harry is also one that elated me with the kind of heart and chemistry that proves how far these protagonists have grown in two movies. Harry feels like the dad that Eggsy never had, and where ‘The Secret Service’ was Eggsy’s teenage years, ‘The Golden Circle’ feels like our grown man who has finally bloomed into a leader, and oh boy what a transformation it has been.
As for the action sequences, they are still shot eloquently enough in high definition to radiate that of a comic book feel. Where I feel that Vaughn succeeds in his choreography and camera style as opposed to someone like Zack Snyder is that Vaughn can slow things down just enough to where it doesn’t feel like a matrix spoof and gear the audience ready for the blow that is about to be dealt, while bracing for what’s to come next in the background. Because of this, the first scene of the film is a personal highlight for me, echoing to the sounds of Prince’s ‘Let’s Go Crazy’ for enticement. If the action sequences have one problem, particularly later in the film, it’s that their C.G capabilities can sometimes manufacture the scenes to look like one collective take. Where this feels like a problem is some of the illustrations of characters can sometimes come off as jarringly hollow, and the punches feel like they lack detection outside of their quick movements. Thankfully, the camera angles stay consistent and everything is telegraphed precisely from the audience, but some of these scenes could use more of a practical approach to their gain, leaving a lot of the big screen magic to the pros who train for this kind of thing.
On the subject of those pros comes some winners and losers on the grand spectrum of this A-list ensemble that hit the screen. First the positives; Taron Eggerton is again a delicious slice of personality and confidence that highlight how far this troublemaker has come from his early days. Taron is the one performer we have seen transform the most, so we feel beneficial any time his tinsel overtakes center stage in going toe to toe with some very accomplished actors. Colin Firth is also a welcome breath of fresh air, even if I didn’t fully agree with how he was brought back in this film logically. As a performer, Firth’s soft spoken demeanor embody everything that Kingsman stand for, but it’s in his slow-peeling psyche of a man trying to get everything back where we embrace that vulnerability for once and show a slice of a man who is broken and on the way to being fixed. Pedro Pascale as Whiskey is probably the best new addition to the team, mainly because he’s the one that doesn’t feel like just a cameo. There’s a bit of a tortured past with his character, and Pascale’s morale disposition makes his wild card of a character a thrill to watch when comparing actions to that of the Kingsman. Outside of these three, everyone else was quite expendable to me. There’s celebrity singer cameos for the hell of it that very much overstay their welcome, and then there’s celebrity cameos who are supposed to be an integral part of the script, but don’t make enough of an impact due to shoddy screen time dedication. To this degree, Channing Tatum, Halle Berry, Jeff Bridges, and especially Julianne Moore are all pointless to this film. Moore is the antagonist, yes, but her character is so poorly written and a bit of a male shovanist infused female that it’s easy to ever engage in her squeaky clean villain with something lurking beneath the eyes. Moore is an amazing actress, but I found her performance here to be unconvincing and forceful to the degree that the film’s momentum stalls every time she’s on screen.
THE VERDICT – ‘The Golden Circle’ is still the same fun and wild ride helmed by Vaughn that made its predecessor one of the most talked about movies of 2014. But this overstuffed and often times over-budgeted production can take something unique for all of its original quirks and transform it into something nearly unrecognizable for its convoluted directions. I do feel that there is enough magic in the performances of the trio listed above, as well as a timely social message, to expell a majority of the negatives, but if there is a third movie, it would be best to not overthink what puts this sassy satire ahead of the bullet.