Movie review: ‘Kingsman’ is a slam-bang story of secrets and spies

In the original comics that “Kingsman: The Secret Service” is based on (by “Kick-Ass” author Mark Millar), there is a scene where Luke Skywalker himself, actor Mark Hamill, has been kidnapped and is being forced to endure a conversation with his captor’s goons on the merits (or lack thereof) of the “Star Wars” prequels. Admittedly, such a scenario would stray farther into spoof territory than is probably advisable for a big budget action flick, but seeing as last year’s highest-grossing film starred a talking raccoon and a walking tree, who knows what the rules on "advisable" are anymore?

“Kingsman: The Secret Service” stars Colin Firth as Harry Hart, a top British operative for the Kingsmen, a team of highly-trained agents dedicated to protecting the world against those determined to rule it. Under the guise of a tailor operating out of London’s Savile Row (naturally), Hart finds himself on the trail of a prominent scientist who has gone missing.

When the incident proves to be but the latest in a string of disappearances involving influential international figures (including, for some reason, Iggy Azalea), the race is on to find out what the connection is to internet billionaire Reginald Valentine (Samuel L. Jackson) and his lethally-limbed bodyguard (Sofia Boutella).

Complicating matters is the introduction of Eggsy Unwin (Taron Egerton, who looks like the love child of Ewan McGregor and Sam Worthington), a young man from a low-income family struggling to make his way in a world that considers him a lost cause by default. Serendipitously, Eggsy is the talented son of a former colleague of Hart’s, who considers it his duty to take the lad under his wing and fashion him into a gentleman worthy of entry into a larger world ("Like in 'My Fair Lady'!", exclaims Eggsy.). All good and well, to be sure, but first, Eggsy will have to survive the training if he is ever going to earn the right to be called a Kingsman.

Where “Wanted” was a straight-up "novice looking to improve himself joins the big leagues" coming-of-age story, and “Kick-Ass” was a send-up of superhero conventions and tropes, “Kingsman” is like an over-the-top cross between the two. While serving as a by-the-numbers origin story for Eggsy, “Kingsman” is a stylishly violent, often hilarious, affair that simultaneously mocks and pays homage to the material it clearly reveres. Simply put, “Kingsman” is an audacious, visceral throwback to classic Bond films that isn’t afraid to laugh at itself – and not a moment too soon.

Before 2006’s “Casino Royale” rewrote the rules, there were scripted precepts that audiences had been trained to accept from movie spies since 1962’s introductory Bond film, “Doctor No”. Indeed, the tropes were so ingrained in moviegoers that the post-modern spy flick didn’t hit the scene until the 2000s, personified by the likes of Jason Bourne and (on the small screen) Jack Bauer. While 007 would adapt to the 21st century with the aforementioned “Casino Royale” and the superlative “Skyfall,” an element sorely missed was the sense of fun that had pervaded his previous adventures.

In direct answer to this, director Matthew Vaughn (reteaming here with “Kick-Ass” scripter Jane Goldman) makes no bones about “Kingsman” bringing the good ol’ days back to rip-roaring life by way of an adrenaline shot straight to the heart of action cinema. To wit: Impeccably-dressed hero with a penchant for well-made martinis? Check. Megalomaniacal villain of infinite resources operating out of an exotic hidden lair? Check. Femme fatale and/or henchman with a unique set of skills? Check. A private army of anonymous minions whose only characteristic is their collective inability to hit the broad side of a barn with their assault rifles? Check, check, and check.

Gamely heading up the cast is Firth, who, it is safe to say, you have never seen in a role quite like this. Bedecked in a variety of bespoke suits and immaculately-shined oxfords, Firth’s Harry Hart is the quintessential English gentleman (spy), equally credible discussing haberdashery as he is engaging in hand-to-hand combat. Dashing a figure as Hart cuts, though, it is through his accoutrements that we garner any real insight into the character (to say nothing of the filmmakers’ inspirations): with a variation on John Steed’s ever-present brolly in hand and Harry Palmer’s spectacles perched on his nose, paired off with salacious eyebrows and an upper-class wit that Sir Roger Moore would approve of, Harry Hart is an unabashed amalgamation of the cinematic superspies of yore.

Conversely, the villain of the piece, Richmond Valentine (Jackson) resembles nothing so much as a geriatric foray into hip-hop gone horribly, horribly wrong. Ubiquitous baseball cap, bling and ludicrous lisp notwithstanding, Valentine’s most distinctive feature is the augmented reality eyepiece (think Google Glass) bolted onto his glasses. Thankfully, Jackson is talented enough a performer to transcend his character’s nouveau riche inanities, imbuing Valentine with an intelligent, off-kilter menace.

As Eggsy, newcomer Egerton is admirably manages to find the right tone between smirking obnoxiousness and genuine likeability. As we see Eggsy’s rough edges being hewn, shaped and molded towards his character’s ultimate destiny, it’s not hard to root for the guy every step of the way. Indeed, when he finally masters the tricks of the trade and dons his own tailor-made suit, it is a cheer-worthy moment.

The supporting cast is equally impressive, and not just for its pedigree: The legendary Michael Caine plays Arthur as an aged version of his trademark Harry Palmer character, running the Kingsman organization from behind the scenes and solemnly raising brandy snifters to fallen comrades. Tech and field support comes in the form of Mark Strong (playing a non-villain, for once) as snarky tech genius/drill instructor Merlin, who any spy would be proud to have at their back.

As expected from the director who taught the world to applaud Hit Girl’s homicidal antics, Vaughn’s handling of the action sequences here is topnotch, combining martial arts, barroom brawling, and acrobatics with gunplay in a way that doesn’t come across anywhere near as forced as it sounds. The icing on the cake is the distinct lack of shaky cam, granting us the unexpected joy of seeing Colin Firth dispatching wave after wave of opponents without breaking a sweat. Many of the kills are graphic in nature, yes, but you won’t be able to take your eyes off the screen.

So was the Mark Hamill scene included in the final shooting script? Truth be told, the answer is both yes and no, but even if you can’t figure it out while watching the movie, it won’t ruin your enjoyment of the overall film. Trust me – and I say this with all due respect – there is more than enough gloriously silly material in “Kingsman” to waste time worrying about one cameo. And, given how delightfully, deliriously, bonkers this film is as a whole, I honestly wouldn’t want it any other way.

God save the Queen. — BM, GMA News

“Kingsman: The Secret Service” is rated R-16 and opens nationwide on February 18.