NEW RELEASE FILM REVIEW
Seen at Cineworld Haymarket, London, Thursday 29 January 2015
For all that I’m trying to watch films with some element of female authorship, this adaptation of a comic book written by Jane Goldman and directed by Matthew Vaughn (the team behind the stylish and misanthropically nasty Kick Ass) doesn’t exactly give me a great deal of hope. It has enough stylishness in its staging, with the kind of set design and gaudy palette that fully justifies its origins, that it has won over plenty of people. It also stars Colin Firth, putting in an impeccable performance as the kind of heightened Englishman he’s so often called to be in films, in a film that itself lovingly curates an overabundance of signifiers of English-ness (my favourite being an underground workshop packed with taxicabs and red London Routemaster buses, amongst other such iconic machines). Which would all be fine, except these signifiers include the mock-Burberry-clad working-class ‘chav’ — whose apparently natural environment is picking fights in pubs (one which is actually a really very pleasant pub, it should be pointed out, should you find yourself down the Lambeth Road anytime soon) — and it does so with a level of subtlety that makes Attack the Block seem the very model of kitchen-sink drama. Then there’s the sickening attitude to violence that would orchestrate a mass killing to a jaunty soundtrack and self-consciously stylish camerawork and then try to exculpate itself by painting the victims as merely bigots, but then this is all of a piece with a film that also finds plentiful humour in some kind of anal-fixated homophobia, not to mention a bit of racism (there’s a quip in relation to Samuel L. Jackson’s bad guy about “colourful megalomaniacs” that’s straight from the Cumberbatch playbook). But, you know, it’s FINE, right, because it’s a SATIRE about spy films, exposing all of this as the seedy underbelly of the genre (albeit one that’s always been pretty clearly on display throughout much of the Bond cycle, to the extent that I was almost thankful that Kingsman‘s cribbing from Skyfall of the value of a 50-year-old whisky wasn’t turned into a cheap gag at the expense of a woman’s death). So, in short, no I didn’t much like it, though the plentiful laughter from the young woman along the row from me at the cinema suggests this might just be one guy’s grumpy opinion. There’s a self-aware refrain that’s repeated a few times that this isn’t “one of those kinds of films”, but it just leaves me wishing that it had been. Instead, if you’re a fan of violently nihilistic misanthropic nastiness clothed in the natty threads of the aristocratic English gentleman, knock yourself out. This is probably your film of the year.
CREDITS || Director Matthew Vaughn | Writers Jane Goldman and Matthew Vaughn (based on the comic book The Secret Service by Mark Millar and Dave Gibbons) | Cinematographer George Richmond | Starring Colin Firth, Taron Egerton, Samuel L. Jackson, Michael Caine | Length 129 minutes