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 US. These two elite secret organizations must band together to defeat a common enemy.
In the near future, a weary Logan cares for an ailing Professor X, somewhere on the Mexican border. However, Logan's attempts to hide from the world, and his legacy, are upended when a young mutant arrives, pursued by dark forces.
After the Kingsman headquarters are blown up by a psychotic criminal named Poppy Adams, the surviving agents find their way to an allied secret organisation based in Kentucky, named Statesman. The two agencies must now work together in order to save the world and take down the so called 'Golden Circle'.Written by
This Kingsman movie, the series a modern take on James Bond, pays homage to the original master spy in its sequence in the Italian Alps. In the James Bond film On Her Majesty's Secret Service (1969), a mountain top lair, filmed in Schilthorn, Switzerland, is accessible via cable car. The location bears a striking resemblance to the scenes filmed at Skyway Monte Bianco in the Italian Alps in Kingsman, also accessible via cable car. See more »
The Kinsman's Doomsday Protocol involves drinking almost a full bottle of whiskey. Such emergency protocol should be way more fail-proof. See more »
[Eggsy stands by the ruins of Kingsman Tailors. He notices a figure emerging from the other side and pulls his gun at him, only to discover that it is Merlin]
Someone decides to wipe out every Kingsman property, every agent, and somehow, conveniently, you weren't at home!
I could say the same thing about you.
What, you think I'd kill Roxy? And my mate Brandon, and my fucking dog?
No. You think I would?
[Merlin pulls out Charlie's robotic arm from his bag]
This thing... hacked us. Clearly, this ...
[...] See more »
There is a statement in the closing credits: "A dope thanks to Samuel L. Jackson." Jackson had played Richmond Valentine in the previous Kingsman film. See more »
Written by Elton John & Bernie Taupin (as Bernard Taupin)
Published by Universal/Dick James Music Ltd.
Performed by Elton John
Courtesy of Virgin EMI Records Ltd.
Under license from Universal Music Operations Ltd. See more »
It is ironic that when a writer concocts so many sub-plots which take the audience off the Hero's main goal/desire, the main story line gets lost in the shuffle. This was what was happening in the first 10 minutes, until we got to the change of venue at Poppy's hang-out. We are introduced to the psychopathic opponent, Poppy, who does not flinch when one of her "soldiers" is committed into a meat grinder. She calmly makes a "humanburger" out of the hapless sub- opponent; dares her next "soldier" to eat the thing, while the audience tries to avoid vomiting. Not necessarily because of the disgusting concept of grinding a human being and then filming the "humanburger" for all to see, but because of just plain grossly overplayed attempts at humor with a classless script.
Billed as action/comedy, this script continued to exacerbate the patience of an audience that actually was relieved by the special effects/blood/carnage/ destruction/body parts flying - I noticed the audience turning on their hand-held devices and catching up on e-mails, which was even more obnoxious than this script.
The Hero, a young recent recruit into the secret service, simply did not have a believable story line. As with the genre of Mythology, this Hero set out to smite the dragons, one after another, using tools, weapons, impromptu devices, sci-fi gadgets, etc. This type of writing is predictable because after slaying one dragon, the rest are ho-hum going to be slain. There are no surprises in this script, other than a vast array of curious characters who enter and then depart.
The Opponent, Poppy, is not particularly opposed to the Hero for any particular reason. She is not blocking what the Hero attempts to do because so many other unrelated characters march in and out of the script, as if they were tacked on to increase the Narrative Drive. This technique did not work. The audience attention was not on the Hero's character arc because the vast character displays with no significant web to speak of kept taking the audience OFF of the Narrative Drive - the exact opposite desired effect.
The dialogue was in your face, with very little subtext. Predictable character development, to the point where except for the British crew and the British accents vs. the southern characters and the whiskey drinkers and down home brawls - The characters could have been interchangeable they were drawn in such a surface manner. Colin Firth, with temporary memory loss, did a superb job as usual because he is a fine actor. Jeff Bridges also did what he could with his whiskey saturated good old' boy routine leading a crew of men who all want to fight on the side for good vs. the evil "out there."
Poppy, the opponent, was so ridiculous, the attempt at parody was lost. A good opponent works punch-counter-punch with a good Hero - back and forth, constantly giving the audience Reveals. This was not the case with this script. The result - Very boring, predictable, and clichéd.
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