The Kings Man (2021) 720p | 480p Pre-DVDRip [English]

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1- I loved the original “Kingsman” with Colin Firth, but wasn’t too fond of the second one. As someone who has always really enjoyed Ralph Fiennes’ acting, I was hoping that this long-delayed prequel set during World War I would be a return to form for this franchise. Fortunately, I’m happy to say that fans of this franchise–or simply just of spy movies in general–should not be disappointed. The film is able to create a supremely entertaining fusion of over-the-top stylized action, clever writing, bawdy-yet-witty humor, tongue-in-cheek homages to classic spy movies and spy movie plot tropes, gorgeous period decor and cinematography, and a heaping serving of style–all rolled up into one entertaining package.

The film’s plot centers around Oxford (Ralph Fiennes) and his oversight of the Kingsman spy agency during World War I, including his need to protect and help his son Conrad (a very strong Harris Dickinson) who is serving in the war while also trying to stop the diabolical plans a group of tyrants, including Rasputin. By creating a genuine emotional core between Oxford and Conrad, “The King’s Man” is able to effectively avoid falling into the traps of being seen as an “unnecessary” sequel. Their camaraderie and ability to learn and grow from each other helps uniquely complement the narrative while simultaneously enhancing depth and character development. Fiennes is absolutely terrific as Oxford, providing a surprisingly thorough emotional range with a pitch-perfect combination of charisma and class. The film’s over-the-top, Tarantino-esque action sequences are loads of fun. They’re often methodically paired with cackling, cathartic dark humor too–managing to provide a sense of narrative uniqueness with real edge and bite. A wild, set-to-Tchaikovsky fight against Rasputin at a lavish Christmas ball is a mid-film highlight, and the film’s mountain-set climax also doesn’t disappoint. The film is well-paced and manages not to feel a scene too long or too short, and just about everything is consistently entertaining. The only minor criticism I have about it is that some scenes meant to more thoughtfully analyze the horrors of war can sometimes feel a bit tonally imbalanced when juxtaposed against the really over-the-top action scenes more characteristic of this franchise, but I view this concern as relatively minor because the human and emotional components of the story (particularly the characterization of Oxford and Conrad) end up working well to properly accentuate the tonal shifts. Gladly recommended; fans of the “Kingsman” movies will most certainly have a lot of fun.

2- Matthew Vaughn’s ‘The King’s Man,” a prequel to the filmmaker’s two entertainingly comic-book-y action-adventure spy-larks “Kingsman: The Secret Service” and “Kingsman: The Golden Circle,” is at once more bonkers and more staid than either of its predecessors (if a film that features a dancing, omnivorously bisexual, murderous Grigori Rasputin as one of its villains can be called staid). Set against the backdrop of World War I and its origins, the film is essentially a trippier, more hallucinogenic version of an episode of “Drunk History” – one that might have been imagined (or dreamed) by a brainy but bored high-schooler who fell asleep during World History class after eating magic mushrooms, only to wake up with a crazy, what-if story involving several historical figures, minor and major, from the early 20th century rattling around in their head. That story, written by Vaughn and Karl Gajdusek, posits a revisionist theory about the causes of the global conflict, which only begins, in this case, with the 1914 assassination of Archduke Franz Ferdinand of Austria (Ron Cook) by the Bosnian Serb Gavrilo Princip (Joel Basman). “The King’s Man” contains just enough far-fetched-sounding facts to send you running straight for Wikipedia as soon as the houselights come up. You’ll find a surprising amount of truth (or half-truth) here, including details about the legendarily unkillable Rasputin’s death, but also an equal amount of stuff that’s entirely made up. (Did King George really change his Teutonic family name, Saxe-Coburg and Gotha, to Windsor, as a reaction to anti-German sentiment? Yes. Did Mata Hari try to blackmail Wilson after seducing him? Probably not.) That spirit is a notably violent one, and it is expressed in an unapologetically cartoonish way. Vaughn’s stylistic signature of balletic brutality is among the film’s pleasures, although the narrative’s hybrid tone – part academic, part acid trip – is not. R. Contains sequences of strong, bloody violence, coarse language and some sexual material. 131 minutes.

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