Throne together again?
The second Kingsman film – packed with stars including Julianne Moore and Jeff Bridges – is like a Roger Moore Bond flick without the class
21 September, 2017 — By Dan Carrier
Taron Egerton as Eggsy
KINGSMAN: THE GOLDEN CIRCLE
Directed by Matthew Vaughn
IT was a hit – but who knows why?
The first Kingsman film, riddled with clichés, stacked with crude, unfunny jokes and crass commentary on class, should have been embarrassing enough for film-makers to quietly slink away and pretend it never happened.
So how the well-connected Matthew Vaughn managed to wangle a sequel, with a big production budget and packed with stars, is a mystery.
Eggsy (Taron Egerton) is the working-class boy taken under the wing of a super-posh secret agency who seek to preserve peace and stability around the world, a kind of rogue MI6/Thunderbirds team.
We discover there is a dastardly plot cooked up by Poppy (Julianne Moore), a drug lord kingpin who wants to hold the world to ransom. The Kingsmen and their new American counterparts have to stop her. And that is it.
Colin Firth in Kingsman: The Golden Circle
But it’s like a Roger Moore Bond flick without the class, if you can imagine such a thing. Crude jokes abound – one scene about Glastonbury and casual sex is beyond comprehension.
Crass violence litters each scene. It is even more annoying by feeling like the best connected movie in the world. It has genuine stars in it – Colin Firth, Halle Berry, Jeff Bridges, Channing Tatum – and the introduction of the American element, one senses, is to put some bums on seats in Stateside cinemas, as the first was very much an English affair. Yet it’s like the cinematic version of the privileged schoolboy, given all the chances and opportunities in life, that still comes out of an expensive education with very little to show for it.
This is because it seems as if it was concocted through the shared fantasies of such schoolboys from a fee-paying boarding establishment after lights out. It has a Bullingdon Club sensibility about its crassness, its storyline is sub-Austin Powers, and its cultural references take their cue from an Establishment’s idea of what is cool and groovy.