Oops. My bad. Here I am again, having watched a movie intended to accompany boys through puberty. Why the conspicuous paucity of arterial spray? I will concede that, as myself a heterosexual man of some not insubstantial glandular fortitude, I do have a serious yearning for this chippie w/ the weaponized legs. Growl. But seriously: what's w/ all the sound and fury? Planet's gonna cull us just fine on 'er own.
I can't stand these cheaply cynical, ultraviolent bloodlust-inducers. Exploitation films with the same level of violence and a similar anarchic spirit don't bother me because there's a serious consideration of tone and an aesthetic to match; here Vaughn wraps an even less palatable juvenile attitude in an exceedingly dull blockbuster packaging, doubling its fundamental falseness. At least it has Mark Strong.
Mark Millar is nothing if not a shrewd businessman. Watching "Kingsman," you can practically hear him in the pitch room exclaiming, "It's James Bond meets Harry Potter - with a R-rated twist!" But the John Barry-channeling score is stellar enough to be featured in any Daniel Craig 007 adventure and Samuel L. Jackson appears to be having fun, playing his big bad as Mark Zuckerburg by way of "Unbreakable's" Mr. Glass.
The Best Bond film never made. Shits all over Craig's run, which is all about screwing Albert Broccoli's ghost in the ass; trying to re-establish the old Bond values which really dont work that well in today's culture. This film looks to the future instead and ends up reinventing the spy movie.The satire of class warfare here maybe unprecedented in modern cinema
Previous Bond homages or spoofs tried hard to be politically incorrect but they all pale in comparison to the bloody fun vulgarity of this Matthew Vaughn/Mark Millar take on the genre.
Anyone who starts his own movie playing dire straits' "money for nothing" is surely having a good time and is infusing it all over our Bond obsessed rocknrolling darkly humorous immature videogamer raging hormone crazy selves.
Again the postmodern babbling about the rhetorical possibilities of a self-parody cinema without any constructive perspective - in what De Palma or Argento were masters - , accumulating unbearable jokes as if any contemporary entertainment were no more than a lobotomized stage of stand-up comedians. Ends with the laughable chauvinist daydream of any "right" action man.
Enjoyable but sadly missing the ingredients that would have made it special. It has that 'meta' quality begging not to be taken serious but lacks the intelligence to do something novel with it. The casting seems safe save the cartoon that Samuel L Jackson plays. Of note is young Sofia Boutella as Gazelle who is more interesting to watch in action than any of the male characters. Expected more...a lot more.
i like how this film refuses to take itself seriously; unlike modern spy films that harry hart himself declares "too serious." p.s.: indonesia's censorship body decided to cut the church scene. can you imagine that? the fucking church scene. cunts.