When their headquarters are destroyed and the world is held hostage, the Kingsman's journey leads them to the discovery of an allied spy organization in the United States. These two elite secret organizations must band together to defeat a common enemy.
Baby is a young and partially hearing impaired getaway driver who can make any wild move while in motion with the right track playing. It's a critical talent he needs to survive his indentured servitude to the crime boss, Doc, who values his role in his meticulously planned robberies. However, just when Baby thinks he is finally free and clear to have his own life with his new girlfriend, Debora, Doc coerces him back for another job. Now saddled with a crew of thugs too violently unstable to keep to Doc's plans, Baby finds himself and everything he cares for in terrible danger. To survive and escape the coming maelstrom, it will take all of Baby's skill, wits and daring, but even on the best track, can he make it when life is forcing him to face the music?Written by
Kenneth Chisholm (firstname.lastname@example.org)
During promotion, Edgar Wright jokingly referred to the film as part of a Simon and Garfunkel Cinematic Universe along with Marc Webb's The Only Living Boy in New York (2017). Both films are named after Simon and Garfunkel songs. See more »
Darling is shot in the right arm. Minutes later when she's eating in the diner, her right arm has no blood on it, and her jacket has no hole in it where she was just shot. See more »
Bats, you are fucking crazy.
When your folks name you Bats, you're gonna end up crazy.
I don't doubt that you're crazy, but your real name is not Bats.
So says you.
You think my real name's Darling?
Yeah, or Buddy? No, they're nicknames. Code names. Monikers.
So what's your real name, Darling?
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The "ding" in the opening Sony logo turns into the sound of Baby's tinnitus. See more »
There is never a dull moment in this action crime film about a getaway driver who has his own unlimited getaway soundtrack but who also wants to break free from the crime boss who owns his life.
There is enough style and visceral strut in this film that it neutralizes the one or two credibility gaps in the plot. Ansel Elgort is great as the title character, but Jamie Foxx steals the film with a lively performance as the loose cannon in the crew. Performances all around are solid and the dialogue is so rife with dueling wits, it's like watching a recurring display of verbal fireworks. These firecracker scenes of competitive criminals showing off their bravado are just as exciting as the chase scenes through downtown Atlanta.
The film also banks heavily on a heady, omnipresent soundtrack that keeps the tempo perpetually hyperactive. A word of caution: The action can be tough going at times; the film revels in its permanent state of anarchy before ultimately developing a mean streak. But for all the blistering gunfire and screeching tires, this is not a one-note film. It has its moments of quietly boiling tension and eerie backstory flashbacks. It's a film that wears its attitude on its sleeve and doesn't shrivel into conventionality. Not an absolute bull's eye, but recommended to everyone who wants a good rush.
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