REVIEW: Kingsman: The Secret Service

23 03 2015

Earlier in 2015, Matthew Vaughn hit a nerve with many movie fans when he took a giant crap on the face of reigning blockbuster king Christopher Nolan.  “People want fun and escapism at the moment,” said Vaughn in an interview, “I think Nolan kick-started a very dark, bleak style of superhero escapism, and I think people have had enough of it.”

I take issue with his statement for a number of reasons.  First of all, it just reeks of bitterness over Nolan’s success; the total worldwide gross of Vaughn’s combined filmography does not even come close to equaling the haul of “The Dark Knight Rises.”  Second, it implies that serious action films are shoving lighter fare out of the market on both the level of the corporation and the consumer.

For me, I tend to prefer Nolan’s films because they so boldly test the boundaries of what our entertainment can be.  But at the end of the day, I do not want to live in a world where I cannot kick back and enjoy a blissfully funny, irreverent, and exciting movie like Matthew Vaughn’s own “Kingsman: The Secret Service.”  There will always be a place for well-crafted entertainment that knows the role it wants to play and fulfills its duties with gusto.

Vaughn’s film, co-written with his frequent collaborator Jane Goldman, strikes a rarely found balance between spy movie classicism (like a Bond flick) and outright parody (a la “Austin Powers”).  They find the right times to shift gears, and the result is an experience that plays like all the fun of two movies for the price of one.  Overall, I found myself reminded of the hero’s quest of Luke Skywalker from “Star Wars” hybridized with “Agent Cody Banks” (throwback – bet you haven’t thought about that movie in a while).

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REVIEW: X-Men: First Class

9 06 2011

I’m not quite sure how “X-Men: First Class” fits in to the universe created by the other 4 films (like “Superman Returns“), or if it’s supposed to create a whole new universe in itself (like “Batman Begins” or “Star Trek”).  This confusion makes it hard to write about the summer superhero tentpole movie.  However, rather than worry myself with such fanboy concerns, I’ll review it like I chose to watch it: as a fun, entertaining reintroduction to the mutants that provides some interesting background on their origins (as well as shining some light on the REAL events of the Cuban Missile Crisis).

Matthew Vaughn makes it easy to forget your worries about the movie’s place in the series by keeping a smooth pace through a script that balances big explosions with character development.  It’s like a two hour pilot that introduces you to a fantastic ensemble while also fleshing out the conflict between its two biggest stars.  He’s no Christopher Nolan behind the camera, but he’s certainly much better than Michael Bay or whoever made the horrific “X-Men Origins: Wolverine” (which I still think was just an excuse for Hugh Jackman to prance around naked on camera).

Vaughn also makes some very savvy casting decisions; rather than filling out the large cast with marquee names or falling stars, he casts up-and-coming stars who make up for what they lack in marketability with their impressive acting chops.  James McAvoy (“The Last Station“) and Michael Fassbender (“Inglorious Basterds“), Xavier and Magneto respectively, are two incredibly reputable actors who bring drama and dynamism to the roles that Patrick Stewart and Ian McKellen made campy and stale. Oscar nominee Jennifer Lawrence (“Winter’s Bone“) brings soul and heart to Mystique, two things Rebecca Romjin did not endow her character since she was too busy being sexy.  Nicholas Hoult (“A Single Man“) is a warm-hearted and lovable big-footed scientist.  January Jones provides some nice eye candy for those who might miss Halle Berry, although she will always be Betty Draper of “Mad Men” for me, while fans of Rose Byrne (“Bridesmaids,” “Get Him to the Greek“) will also rejoice to see her featured as mutant protector Moira MacTaggert.

It’s like he’s trying to have the 25 year reunion of this cast be on the cover of “People” with the title LOOK HOW FAR THEY’VE COME in big bold letters (while Lindsay Lohan is arrested for the 30th time in the sidebar).  Vaughn uses these superheroes to create superstars, many of which will be touting above-title billing after this movie.  His choice not to overload with actors who we already associate with other roles makes us more drawn in to the characters and less distracted by the people portraying them.

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