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“The King’s Man” by Matthew Vaughn is a wildly inconsistent action film. It appears that half of the production teams wanted to make “1917,” while the other half wanted to make the British version of “Team America: World Police.” It’s a film that tries too hard to be a serious study of politics, warfare, and pacifism until it slaps you in the face with a reminder that this is all set up for one of the modern era’s broader, goofier action franchises. Of course, one shouldn’t look for messages in a film from this series, but Vaughn and co-writer Karl Gajdusek keep highlighting them with very serious discussions of everything from colonialism to the human cost of war, and it appears clear that the director wanted to make a dramatic World War I film but then it was crammed into the Kingsman franchise. A charismatic cast and occasionally entertaining action choreography keep it from becoming monotonous, but this strange hybrid of war drama and patriotic action orgy never finds its stride.
Back in 2014, Matthew Vaughn made it clear that he wanted to make a James Bond film, preferably one from the more ludicrously conceived era when 007 went to space. Surprisingly, for the majority of its running time, “The King’s Man” is a more traditional spy film, focusing on intrigue and espionage rather than gadgets and explosions. It also stars Ralph Fiennes, who clearly could have played Bond in an alternate universe. Fiennes is an actor who always gives his all, even when a film doesn’t know what to do with him.
The King’s Man Quiz
Fiennes plays Orlando Oxford, the man who founded the covert operation that centered the first two films and appears to have played a significant role in several World War I-related events. In the days when it appears that violent conflict is unavoidable, the Duke of Oxford is an important ally of King George (Tom Hollander, who also plays Kaiser Wilhelm and Tsar Nicholas in an admittedly fun casting choice). Oxford basically establishes his own spy network with the assistance of Shola (Djimon Hounsou) and Polly (Gemma Arterton), two geniuses who also happen to be servants at his estate, able to hide in plain sight while so many privileged white men ignore them. Yes, it’s an intriguing concept, but “The King’s Man” does almost nothing with it, despite the fact that Hounsou and Arterton are two of the film’s highlights (give them an action-driven spin-off). Also, you must try to play this The King’s Man Quiz.
Meanwhile, a villain is seen only from behind for nearly two hours of the film’s running time plots to destabilize the world with the help of his own network of spies, including Rasputin (Rhys Ifans). Oxford struggles to keep his son Conrad (Harris Dickinson) away from the front lines as the war becomes more bloody, preaching pacifism and protection whenever possible. And yet, the film continues to push back, almost as if to suggest that the horrors of this world will turn even the most upright gentlemen into killing machines. F*ck yeah, Britain!
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The tone of “The King’s Man” is a jumbled mess. It begins with notes from British soldiers in South Africa about inhumane conditions and a promise to keep a young Conrad Oxford away from a life of violence. In other words, it establishes itself as a critique of colonialism and pacifism, both of which are gone by the time Fiennes is parachuting out of a plane and fighting a mountain goat in the final act. And the tone isn’t consistent, as Vaughn’s film alternates between a serious war film with “something to say” and the goofy action aesthetic that fans of the first two films will expect (and wish they got more of here). It is frequently arrogantly self-important in ways that this franchise simply cannot be. It’s clever to graft the over-the-top aesthetic of the first two films onto fights with Rasputin and actual events from world history, but why take it so seriously? It’s as if Vaughn and company heard the criticisms about the misanthropy in the first two films and went in the opposite direction… until they realized it wasn’t as much fun and turned around. You will find which The King’s Man character are you in this quiz.
As a result, “The King’s Man” works only when it recalls its insane predecessors. A ridiculous scene in which Rasputin licks Oxford’s leg wound, which leads to a clever action sequence, almost brings the film to life, but it then crashes for another hour until the finale. There’s a scene in the trenches of World War I in that hour that’s far more “1917” than “Kingsman: The Secret Service”; “King’s Man” then intensifies its inconsistency when its climax finally becomes a prequel to what fans know. Oxford launches one of the worst plans in war movie history, but it leads to a fun, long cliffside sequence and some truly solid action choreography just before and after the villain reveal. Concerning that, it should be illegal to disguise a (fairly obvious) villain for as long as this film does. After the hundredth shot of the back of his head, I began to fantasize about amusing possibilities. Perhaps it’s Blofeld? Is that Begbie from “Trainspotting”? Perhaps it’s The Riddler?!?! With this stupid gimmick, the film lost me.
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