Directed by David Kerr
Starring – Rowan Atkinson, Olga Kurylenko, Emma Thompson
The Plot – The third installment of the Johnny English comedy series, with Rowan Atkinson returning as the much loved accidental secret agent. The new adventure begins when a cyber-attack reveals the identity of all active undercover agents in Britain, leaving Johnny English as the Secret Service’s last hope. Called out of retirement, English dives head first into action with the mission to find the mastermind hacker. As a man with few skills and analog methods, Johnny English must overcome the challenges of modern technology to make this mission a success.
Rated PG for some action violence, rude humor, adult language and brief nudity
– Late but purposeful. It has been eight years since the previous Johnny English installment, and fifteen since the original that went on to be a box office smash, bringing 320 million dollars between them. So it’s certainly easy to understand why a third chapter exists, and with the addition of technological nemesis like Cyber-Hacking, Identity Theft, and such, it allows English to explore avenues of antagonists that he hasn’t yet tackled. But it also provides the opportunity in valuing these new toys that help him crack the case a little easier. This gives the third movie proper motivation and deters it from the previous movies, whose environments were a product of their time.
– Stylish, spy thriller cinematography by Florian Hoffmeister. ‘Strikes Again’ is fill of slick car chase sequences through the bending mountainside, as well as never-ending portraits of English countryside that competently articulates the genre’s predecessors in visual likeness. These examples are a constant reminder of how faithful this film sticks with its intended genre purpose, and perfectly sets its audience in the mood for what’s to come.
– Quick run time. The film clocks in at a measly 84 minutes, and this may perhaps be its greatest benefit against a plot that isn’t necessarily substantive or even imaginative. Much of the pacing remained persistent, and never felt like it was sagging or dulling me to the point of checking my watch, particularly with the carefully spread out sight gags that bring enticement to each act.
– Doesn’t require allegiance to the previous films. As a critic, I am a bit ashamed to say that I never saw either of the first two films in this series, but thankfully Kerr’s sequel doesn’t rely at all on Johnny’s past work, just on the very legend of the character that sets him apart from the other spies. In this regard, the movie stands on its own independent feet, catering to a new generation of youthful moviegoers without ever alienating fans of the series, who are now grown-ups.
– Hit or miss performances. Atkinson still gives his all to this character, portraying English with a sort of unaware cool smug about his asinine decisions that make him the proper outcast for any spy character. His best attribute is in his bodily movements that dare you not to laugh each time he dedicates a thorough amount of time to the gag. Likewise, his chemistry with sidekick Bough (Played by Ben Miller) is impeccable, and allows the two cherished English actors great importance to the story’s progression. Unfortunately, the female cast is less opportunistic. Thompson is virtually wasted as the Prime Minister, sprouting her sparse ten total minutes on camera as being the subplot to Johnny’s mayhem. It is unfortunate that the two have such little screen time together to bounce off of one another, as the inclusion of a prestigious actress like Thomposon could’ve added much-needed female dynamic to the film that it just doesn’t master. Kurylenko is also phoning it in, playing Bond girl 27. The film just kind of forgets about her the longer it goes, proving her intention was nothing more than eye-candy that feels dated for the kind of equality we have mastered most recently in films.
– Cheap budget for virtually non-existent action sequences. What this film needs is an element of devastation in adding weight or memorability to the movie. One example of this limited perspective is a fire sequence in the opening twenty minutes that not only shies away from depicting the start of the fire, but also only acknowledges it through the facial reactions of our two male leads, with a flicker of light reflecting from their faces. Sadly, this is the highlight for the film in the set pieces department, removing any kind of consequential weight from the irresponsibility of clumsy characters.
– Ineffective humor. This film, perhaps more than anything else, is a blueprint for the differences in English and American comedy that have divided them for decades in terms of intended marks. With the exception of one sequence that stretches the boundaries and believability of virtual reality, I didn’t laugh once in this entire film, and that’s a huge disappointment for someone like Atkinson, whom I’ve adored for decades on the Mr. Bean program. Part of the blame is the juvenile atmosphere created, but I put so much more on punchlines that are skimmed over like just another line read.
– No surprises. Considering this is a spoof on spy thrillers, the lack of overall mystery and motivations within the characters feels like a pivotal misfire against a predictable screenplay full of genre cliches. Pretty much from the opening ten minutes of the movie you can piece it all together where the film’s antagonist, conflict, and resolution will fall, proving that the film’s lack of intelligence within itself stems from so much more than a bumbling protagonist who has never used a cell phone in 2018.
– An idea within. Instead of a plot that more than rubs together with previous films in the series, I preferred an angle that the screenplay only hints at. English is now an espionage teacher of sorts for a school of youths, and I think this original direction could’ve done with its youthful cast the same things that ‘Kingsman’ did for troubled adolescents. Is there any guarantee it would’ve been a better film? Absolutely not, but the desire in crafting a chapter of originality is something I commend any series for, but unfortunately it’s a sequel in plot that never strays far from familiarity.
– In Kerr’s directing, the biggest flaw that I found was his inability in taking chances. Most of the shot compositions, as well as character world-building feels very pedestrian and one-dimensionally confined to the actions of the film. What I mean by this is it doesn’t feel believable in the slightest that this world exists outside of this movie, refusing to explore English when he isn’t donning the three piece suit. This is where screenwriter William Davies takes his share of the blame, because his conflict lacks true complexity in fleshing out the true danger of the profession. These psychological delves could allow us not only to feel more invested in the hollow plot, but also in the range of the character, who hasn’t sprouted much in fifteen years.