His name is Eggsy.
Now the official Galahad legatee of the Kingsman Intelligence Service, the rowdy scamp viewers discovered slumming through London’s pub scene back in 2013’s Kingsman: The Secret Service has almost completely deviated from his previous slack sure roots. Eggsy has become a figure of gentle sensibilities by not only dating a princess, but also enacting his own successful intelligence and operative measures – all the while embodying the visage of proper British style. Namely in the sense of better tailoring, that is. As evidenced from the first five minutes of Matthew Vaughn’s 2017 release, good looks cannot save you from the inevitable crap.
It is hard to be dissuaded by the checkered charm of Kingsman: The Golden Circle, especially with its standout cast attempting to smartly employ its decidedly cheeky humor. Returning highlights include the ever-refined Colin Firth, the dashing Taron Egerton and the thickly-accented Merlin brought to life by Mark Strong. Newer faces include Julianne Moore, Halle Berry, Pedro Pascal, Elton John, Channing Tatum and Jeff Bridges.
As for the direction – much like the previous Galahad’s aim, the movie missed much of its supposed ‘plot’ and the potential for major character to address seemingly irrelevant sub-points. Their biggest missed opportunities were largely with the maniacally enthralling Julianne Moore’s drug Lord, Poppy, and Channing Tatum’s Tequila, characters of which came across as more isolated mentions than the substantial plot factors that they were or could have been. However, credit must be afforded for what the movie absolutely got right: the CGI and cinematography of its several intense fight scenes were both innovative and impressive in regards to visual and technical appreciation.
Still, this tongue-in-cheek super spy adventure could not save itself from its inability to engage audiences with their recycled jokes, uncomfortable objectification of almost every single female character in its roster and lackluster plot line. Kingsman: the Golden Circle is good for its sharp style and comparably cheaper laughs, but for its almost two hour and a half hour run time it seems to drag more than dash between its excellently choreographed and engrossingly tense action sequences and its too many subplots . The predominance of its naughty boy humor and dangerously perverse laugh points only serve to feed established fans and underwhelm more than intelligently entertain those who remained audience.
And not even Sir Elton John can rescue the film from that.