The King's Man

The somewhat misleading trailers, Matthew Vaughn's reputation, and especially what he did in the first two films, set the stage for another frantic action flick, just set a hundred years earlier. But there was a surprise in the cinema – a very pleasant one for me. Apparently, Vaughn decided that the story of the birth of the Kingsman Agency would be just as much the birth of his unmistakable directorial style, and that's a million dollar idea. This makes The King's Man a surprisingly subdued film for a good while, one that cares about the characters, and when it comes to action, it's good but deliberately keeps a low profile. Vaughn seems to be discovering that frantic style himself with each passing scene, while the heroes unravel a giant conspiracy in a story full of twists and turns (including a truly shocking one) and gather typical Kingsman attributes to become the King's Men in the final three-quarters of an hour. Vaughn got unleashed, started slowing down shots, put the camera on wings and swords, fiddled with shots (my favourite is the duel of silhouettes against the backdrop of the movie screen with the turmoil of war) and simply kept giving the audience what they were waiting for. For some the wait will be long, but others will be royally entertained. (01/12/2022)

The first two Kingsman films captivated audiences mainly with their distinctive style, perfect cinematography, stunning visuals and great execution, and I can happily say that the third installment was of the same quality. It took away from the colourful visuals, the punk high-tech style and stepped a bit into the past, but all the other characteristics remained. After a for me too historical introduction to the story, we then dive into the perfect action, spy-clever plot and it's full speed until the end. The film doesn't lack for excellent characters, whether on the side of good guys or bad guys, lively action, highlights in the form of Rasputin's ballet duel or the knife fight in the trenches, but equally a strong villain, a disarming twist in the middle that I'm sure no one expects, and an entertaining finale. I'm actually unexpectedly pleased with the result then, and although it's not quite as good as the first instalment because I tend to prefer the teenage futuristic elements that were missing here and the film actually went in exactly the opposite direction to what I would have liked, it's still a successful cinema visit that managed to surprise in places. (01/08/2022)

If you don't want to proceed sequentially, a prequel (almost) always seems like a fresh idea, and the third Kingsman bets on that. Setting the story in the First World War was good option, given the nature of the film, and Matthew Vaughn took it on with vigour. The King’s Man is definitely not for fans of accurate history – which I am thankfully not. It features a number of historical figures, but they take on a whole new dimension (I could go on at length about Rasputin) and Vaughn mostly manages to make humorous use of even their unconventional concepts. The identity of the main villain is clear almost from the start, but this is offset by the rather unexpected death of one of the main characters. The film does have a few spots that push the envelope too much, but I still had fun in the cinema and watched the beginnings of the modern-day "Knights of the Round Table" with excitement. PS: Some of Ralph Fiennes screams reminded me of Voldemort destroying the defensive shield of Hogwarts. (01/07/2022)

If all those amazing visual ideas, the surprisingly resolved situations and the sweetly over-the-top humour were wrapped in something called a meaningful plot and not a twisted alternate reality pulled out of someone’s ass like from the pen of a drunken Vondruška, I'd be happy. Give Vaughn the next Bond movie, really, the guy's got it. (03/31/2022)

I like Matthew Vaughn and I will continue to like him, but I can't really enjoy this prequel to Kingsman. On one hand, I have to praise the action, which, however, cannot surprise anyone, including myself – Vaughn has a talent for it. And at least the dance fight with Rasputin is truly applause-worthy. He also manages to sell a century-old past full of gentlemen, lunatics, funny cars, and the end of an era. But about the rest? That's exactly what I don't really know. It still looks nice, it has a fast pace and I wasn't bored, but that's not enough for me when it comes to Vaughn. The story surprises at most with its absurd twists, but due to the use of real historical events, it fails to build tension because – unsurprisingly – Austria-Hungary doesn't end up winning World War I. So, it's not very thrilling and, unfortunately, not even funny or bold like the first installment. The King’s Man the weakest of Vaughn's films. And above all, it’s quite unnecessary. (01/05/2022)