In the near future, crime is patrolled by a mechanized police force. When one police droid, Chappie, is stolen and given new programming, he becomes the first robot with the ability to think and feel for himself.
Navy SEAL sniper Chris Kyle's pinpoint accuracy saves countless lives on the battlefield and turns him into a legend. Back home to his wife and kids after four tours of duty, however, Chris finds that it is the war he can't leave behind.
Five married guys conspire to secretly share a penthouse loft in the city--a place where they can carry out hidden affairs and indulge in their deepest fantasies. But the fantasy becomes a nightmare when they discover the dead body of an unknown woman in the loft, and they realize one of the group must be involved.
Erik Van Looy
Mobster and hit man Jimmy Conlon has one night to figure out where his loyalties lie: with his estranged son, Mike, whose life is in danger, or his longtime best friend, mob boss Shawn Maguire, who wants Mike to pay for the death of his own son.
Based upon the acclaimed comic book and directed by Matthew Vaughn, Kingsman: The Secret Service tells the story of a super-secret spy organization that recruits an unrefined but promising street kid into the agency's ultra-competitive training program just as a global threat emerges from a twisted tech genius. Written by
20th Century Fox
Kingsman: The Secret Service subtly references several television series produced by Gerry Anderson (1929-2012) in the late 1960s. Most obvious is the connection to Anderson's "Supermarionation" series The Secret Service (1969), whose lead character is an undercover spy named Father Stanley Unwin. When Gary Unwin appears in the Kingsman stinger segment during the final credits, he is wearing horn-rimmed glasses similar to those previously worn by his mentor, Harry Hart. Father Unwin in Gerry Anderson's The Secret Service wore similar spectacles, as did the title character of Anderson's 1968-69 series Joe 90. In that latter series, nine-year-old Joe McClaine is an ordinary boy who can appropriate the knowledge and skills of any profession (e.g. jet fighter pilot, surgeon, concert pianist), as long as he is wearing specially designed horn-rimmed glasses programmed with the necessary skill set. Gary Unwin's rapid acquisition of espionage skills recalls Joe McClaine's ability to instantaneously acquire similar skills in Joe 90. Finally, the tailor shop room that doubles as an elevator leading to a secret command centre recalls a similar feature in Gerry Anderson's first live-action series, UFO (1970-71). In that series, a movie studio serves as the false front that connects to the headquarters of a top-secret agency tasked with protecting the earth from alien invasion. Access to the agency's high-tech facilities is gained via a film producer's office that is actually an elevator that descends to the headquarters of Supreme Headquarters, Alien Defense Organization (SHADO). See more »
During the the Middle East mission scene, the local people being attacked and interrogated were wearing Afghan/Pakistani hats. Middle East locals use headscarf aka keffiyeh instead. See more »
Hugo, Digby, you don't land in the K, you're not in the K. Rufus, you opened too soon. You're all over the radar. All three of you, pack your bags. Go home.
[the three candidates leave]
Eggsy, Roxy, congratulations. You set a new record. Opening at 300 feet, that's pretty ballsy. Well done for completing another task. Follow.
[Roxy and Charlie leave. Eggsy stays, angered that he was the one without a parachute]
Gary 'Eggsy' Unwin:
Sorry, sir, but why the fuck did you choose me as the gimp? Am I the expendable ...
[...] See more »
The MARV title card sequence begins with the 1980 vector graphics arcade game Battlezone. See more »
It's strange when you consider it, how much the Spy thriller genre has changed and grown because of James Bond, there is not a single Spy movie that is made that isn't and won't be compared to double 'O' seven himself. So I suppose it's no surprise that a film like Kingsman had to be made eventually, so I suppose the reel question is will this make the Sky fall or just be a quantum of nonsense?
Say what you like about Mathew Vaughn the man likes his comics. So far out of the 5 films he has directed, 3 were graphic novels first. Kingsman is one of them. The man's like the anti-Zack Snyder, he directs films based off of comics and brings out real issues in them, as opposed to Snyder who directs films based off of graphic novels and ignores any merit or comment on the wider world the books make and just makes HIS movies. I'm happy to say that Kingsman is probably the most fun I will have in a cinema screen this year.
As I've already said Spy films get compared to James Bond, so let's begin with that shall we? Kingsman is a film that is both totally unique and its own movie whilst fully embracing its British heritage, the films marketing campaign drew strong comparisons to For Your Eyes Only artwork. The film acknowledges all of those stupid spy clichés in a way which is both knowing and clever, and then it ditches them all. The best example of this I can give is in the opening sequence of the film, there is a glass of whisky, a lot of people die and there isn't a drop of said whiskey spilt, and at that moment Kingsman sticks two fingers up at the past and says "we're the future" and from that second onwards Kingsman is its own movie. The film successfully reinvents just about every stereotype imaginable in a spy film.
The villain, who is always central in a spy movie, is Valentine (played by Samuel L. Jackson). Valentine is a megalomaniac who wants world domination, all standard stuff so far, he also has a lisp and is terrified of blood. That's the kind of thing Kingsman does really well, it sets us up with the standard and transforms it to be unique.
The film is of course preposterous in the extreme, but I don't care. It was funny, clever, brilliant and unique. Kingsman has so many pro's to it that you can easily overlook the minor short comings, because in the end the film has a baddie who has blades for legs, I mean who doesn't love that?
What I like most about Kingsman is that even with all its madness it still manages to have some kind of heart; the entire movie is kind of a think piece on class war and the importance of legacy. The movie has a brain and a soul and it has no problem expressing either, the finale to the parachute problem proves this most for me.
I would be remised if I didn't mention something about the cast, let get over the whole "the obvious people are amazing thing" and look forward to the new comers Taron Egerton (playing "Eggsy") and Sophie Cookson (playing Roxy). These two talents have come from nowhere and broken through the glass ceiling, Cookson and Egerton are stars with one film to their names, and they deserve every single piece of praise that comes to them. Taron is such an unbelievably versatile young man, he can be funny, clever, cool, cocky, brash, physical, confident and insecure all without saying a word or moving a muscle. Also, I loved seeing Jack Davenport on screen again.
Kingsman is the film this country needed; it's confident and fun, without being disrespectful or full of nasty. In short, Sic.
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