KNOWN for its kinetic style, inventive (gory too) action scenes, and inversion of James Bond spy tropes, the Kingsman series now goes back in time to World War One with decidedly mixed results. Transposing a wacky plot and cartoonish fight scenes into a sometimes more serious tone and time period doesn’t mesh well.
The two previous Kingsman movies (2014’s Kingsman: The Secret Service and 2017’s Kingsman: The Golden Circle) did indeed have a bizarre mix of tones – as well as messy politics – but that silliness is easier to wave off when it’s set in the present. It doesn’t really work when paired with such a bleak historical setting.
The King’s Man is a comically unsubtle movie that spends an equal amount of time taking a cockeyed tour through real historical events – oftentimes playing like the writers picked up bullet points from the WWI Wikipedia page – that are being manipulated by a devilish Spectre-esque organisation filled with scenery-chewing one-note baddies.
At the same time, we’re dealing with a melodramatic British period drama that doesn’t really come together – even with Ralph Fiennes doing good work (really wanted to say fine work). Then again, he’s one of those actors who is incapable of giving a bad performance.
Fiennes plays Orlando Oxford (that’s a fancy pants last name if there was). He spends a lot of time opposite relative newcomer Harris Dickinson, who plays his son Conrad.
This mirrors the relationship between Colin Firth and Taron Egerton in the other two Kingsman movies.
After an early tragedy, Orlando becomes overly protective of his son, who of course wants to rebel against him. As aristocrats – this is made clear once we visit their Downton Abbey style estate – rebelling, in this case, means serving in the army, as WWI looms over the horizon.
Alongside them are loyal manservant, Shola, played with stern dignity by Djimon Hounsou. His history is undefined, but he has an undying loyalty towards the Oxfords. He’s sometimes the comic relief but is a fierce fighter when needed.
Balancing out the male-dominated cast is the always delightful Gemma Arterton as Polly, the head housekeeper who is all too willing to speak her mind. She sometimes feels too modern, but she’s needed to temper the overarching patriarchy. Together, these four form a team, though it takes a while to come to fruition.
While the previous two Kingsman movies started off with a bang – technically impressive action scenes that establish style and tone that sets them apart from other spy action films (Bond, Bourne, Mission Impossible), The King’s Man begins in a more subdued tone. Yes, there are action beats and exciting moments, but it feels like an hour has passed before there is a proper action scene.
A big part of the marketing for the movie has been centred on Rasputin (Rhys Ifans), the real-life witch doctor who managed to ingratiate himself into being a trusted advisor to the Russian royal family.
The performance is deliciously over-the-top and every scene he’s in is ridiculous in all the best ways. Unfortunately, he is only a part of the evil conspiracy and is overshadowed by an unsatisfying and predictable mastermind.
Another high point that isn’t utilised enough, is Tom Hollander’s triple performances as King George of England, Kaiser Wilhelm of Germany, and Tsar Nicholas of Russia. It’s true that all three monarchs were cousins, so having the same actor play all of them is a delight. It would be great if there was a whole movie of that, but instead, we only get a couple of scenes.
And it’s not like these good silly bits are being drowned out by action, instead, there is a lot of repetitive character drama between Fiennes and Dickinson. The big theme of the movie is duty, and what the elite of society can offer to make the world a better place.
Obviously, considering that this is a prequel to the other Kingsman movies, at some point the titular independent spy organisation gets founded. A lot of the plot is busywork to get there, and though there is one big twist that was genuinely surprising, a lot of The King’s Man lacks the energy of its predecessors.
While there is a decent amount of effective humour (your mileage may vary), the movie includes perhaps the most laughably bad mid-credits scene in recent years. It’s told with such a straight face, one hopes it was satirical. However, the bluntness of the rest of the movie leaves that in doubt.
The big action sequences, of which there are too few, have some of the madcap energy that writer-director Matthew Vaughn has lent to the other two Kingsman movies as well as his other films (X-Men: First Class, Kick Ass), unfortunately, it is starting to wear thin by this point. It’s probably a good time for him to move on to other projects. – The Vibes, December 29, 2021
The King’s Man will be in cinemas on December 30
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