| Twentieth Century Fox Film Corporation | Release Date: February 13, 2015 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
31
Mixed:
13
Negative:
6
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Critic Reviews
Those more devoted to the genre can debate whether Matthew Vaughn's Kingsman is the best comic-book movie of the last few years. What's beyond argument, however, is that Vaughn has whipped up the most interesting one, the only to make ferocious, unsettling art out of the great contradiction of superheroic fantasy: jolly do-goodism and its brutalizing sadism.
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Firth might appear like an odd choice for an action hero, but he makes a surprisingly convincing one in the Roger Moore mold, the sort of unflappable British gentlemen who can kick your ass without wrinkling his suit. He’s a great straight man for Jackson and some of the movie’s sillier elements as well; Firth has this unshakeable dignity and poise that even the most vulgar moments in Kingsman can’t puncture.
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Kingsman is as violently kinetic as anything Vaughn has made, a list including Kick-Ass (the good one) and Craig's U.S. breakthrough, Layer Cake. But Kingsman is also wildly uneven, often slowing its roll to stiff-upper-lip pacing necessary (or not) to create a new British secret agent movie mythology.
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Kingsman delivers on its promise of escapist fun, with a touch that alternates between Galahad’s old-school polish and Eggsy’s roguish charm. Like the rookie who knows that you have to make a few mistakes while following the master, the movie shrugs off its missteps with a wink and a smile that makes them easy to forgive.
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Kingsman is full of elaborately orchestrated violence and acrobatic stunt work, shot in fast, sinewy, CGI-enhanced long takes that push and pull our perspective this way and that. It’s all very silly and not really meant to be taken seriously, but as the story gets more and more brutal, something strange happens: We start to care for these cartoonish characters and this absurd scenario.
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While seriousness has overtaken the Bond franchise in recent years (hardly a bad thing, mind you), Kingsman runs no such risk. Vaughn welcomes details that might seem silly in another director’s hands, such as a bulletproof umbrella or tiny microchips that can make one’s head explode, presenting everything playfully enough that plausibility isn’t a factor.
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Time Out LondonJan 27, 2015
This is pitiful stuff, and, like the violence, it eats away at the blitheness for which Kingsman strives, leaving an aftertaste of desperation that the Connery of “Goldfinger,” say, would not have dreamed of bequeathing. The sadness is that Firth, alone in the film, does raise the spectre of those days, radiating a lightly amused reserve amid the havoc.
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