Kingsman: The Golden Circle (Vaughn; 2017)

Kingsman: The Secret Service was arguably the most pleasant surprise in film for the year 2014.  It was a film that capitalized on a nostalgia for the over-the-top camp prevalent in the spy films of the 70s and 80s while also modernizing them for today’s audience.  It did for the Roger Moore era James Bond what Casino Royale did for James Bond in general.  By giving us heroes and villains with realistic motivations and plot devices that paid off in droves by film’s end alongside action sequences ripped straight from the most bombastic of kung fu movies and cool gadgets that would only be ruined if they were explained in any way we saw a movie that knew exactly where to be smart and where to be dumb to make a roller coaster ride that had honest stakes.  When it made 414 million dollars from an 81 million dollar budget and only increased its following from there with incredible word of mouth, it was inevitable a sequel would be made.  Say hello to Kingsman: The Golden Circle written and directed by Matthew Vaughn just as the first film was.

It’s less than a minute before we are treated to the frenetic action and comic book gadgets of the first film, but moreso.  The combination car chase, fist fight, and gun fight shows off more spectacle than anything in Kingsman: The Secret Service, so it seems that we are about to get the creative adrenaline fueled film we were hoping for.  But, this leads us to the film’s first problem.   While it does have a lot of action scenes, all of them way over-the-top in the stunts and special effects departments, more action does not mean better when the scenes aren’t terribly well thought out.  Most of the action scenes come from an overly contrived situation or they involve actions taken by people that make no sense given the context of the scene around them.

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One area which was very smart in Secret Service is also excellent in The Golden Circle, and that’s the motivations of its villains.  In the first film we were given a villain who saw himself as the hero, or perhaps the anti-hero, doing a job that needed to be done even if it was distasteful.  Here, Julianne Moore as Poppy gives us a villain who knows she is one, but feels it’s unfair that the world considers her one and comes up with a grand scheme to make herself socially acceptable.  It’s a pretty fantastic motivation for a villain not quite like anything I’d seen before but still makes a lot of sense.  Add to that the reaction of the government of the United States to Poppy’s plot, and you have a really true to life reaction to an incredibly unbelievable situation.  There is a problem in the plot in that the scheme affects the entire world but only the reaction of the United States seems to matter, and this in a movie that focuses on a British Spy Agency and features a Swedish Princess, but for the most part the forces that drive the plot are quite intelligent and allow for real social commentary.

The rest of the writing, though, does not share this same intelligence.  The beats of the storyline feature manufactured drama after manufactured drama.  If a simple solution to a problem is apparent, you can be guaranteed that those involved will choose the most convoluted, illogical course of action nearly every time.  Kingsman: The Golden Circle relies on easily settled misunderstandings and epicly idiotic planning on the parts of its characters to work, and this very much soils the intelligence put into its overall premise.  Add to that that the opportunity for social commentary is largely wasted, and you have a script which is no where near the level fans of the first film were hoping for.

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The music in the original Kingsman subtly added quite a bit to its combination retro and modern feel by giving us a mainly orchestral score very. and purposely, reminiscent of a James Bond film, so that when “Freebird” suddenly comes in to the forefront in the infamous church scene it’s an adrenal shock to the system which adds an incredible amount to an already bonkers scene.  The Golden Circle does away almost entirely with the orchestral score and gives us action scenes set to Prince, and ZZ Top, and covers of classic rock songs done in different styles, and therefore ruins the juxtaposition of styles which added so much the original film and made for yet another Guardians of the Galaxy clone where the music is concerned, which was fun for a while and was shown it can still work in Baby Driver and Atomic Blonde, but this is a styling that is starting to wear very thin.

The performances here are on a par with the first film for the most part, though Julianne Moore’s villain has nowhere near the opportunities to shine that Samuel L. Jackson’s did and giving Elton John such a large role in the film in which he plays himself did not work for me, which is okay.  The Kingsman isn’t a showcase for acting, so we don’t really need more than okay in my opinion, though it would have been nice if someone could have given us at least a creatively thought out character like Samuel L. Jackson and Sofia Boutella did in the original, seeing the workmanlike but otherwise unspectacular performances here showed my just how much life those two brought to the first Kingsman.

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The cinematography is another high point of the film, with shots that are both good looking and practical at the same time, and while CGI is in obviously constant use it flows fairly seamlessly for the most part, though there are a handful of exceptions to this.  Even if the plot is dipping into one of its more stupid bits or the pacing of a given scene is leaving you bored or overstimulated you at least know that whatever’s in front of you will be great looking.

Final verdict: Fans of the original Kingsman: The Secret Service will almost certainly leave Kingsman: The Golden Circle disappointed.  The script is sloppier, the nostalgic James Bond feel nearly non-existent, and the plot holes are on larger than life display.  That doesn’t mean there aren’t things to love here, though.  The over-the-top action is still incredibly fun to watch and the comic booky spy trappings are still creative and fun.  Most Kingsman fans could probably wait until this is rentable to see the movie, or even better catch a cheap matinee if possible, but if you are more into the movies for the stunts and special effects more than for story, Kingsman: The Golden Circle should scratch the over-the-top spy flick itch nicely.

Logan Lucky (Soderbergh; 2017)

The very first scene in the latest film from Ocean’s 11s famed director Steven Soderbergh gives us a man doing repair work on an automobile as a young girl, roughly 8-10 years-old, chats with him and helps.  It’s apparent nearly immediately that this is a father and a daughter, that the little girl knows a lot about tools, and that her father is honestly interested in helping the girl with a beauty pageant she’ll be participating in soon.  This short, simple set up is a perfect introduction which says a lot more than it would seem possible about the film you are about to see, for Logan Lucky at its core is a movie about characters who seem to be a stereotype on the surface, who constantly surprise us with the seemingly out of character knowledge they possess, and who have this knowledge because of their strong, genuine familial connections.

Logan Lucky stars Channing Tatum as Jimmy Logan, the central figure of the Logan family, which includes his brother Clyde (Adam Driver) a bartender who lost an arm in military service, Mellie (Riley Keough) his younger hairdresser sister, his aforementioned daughter Sadie (Farrah MacKenzie), Bobbie Jo Chapman (Katie Holmes) his ex-wife, and Moody Chapman (David Denman) his ex’s current husband of some indeterminate but long time and owner of several car dealerships.  The Logans seem to have some sort of family curse, though only Clyde seems to really believe this wholeheartedly, and are further set apart from your standard movie extended family by being largely drama free.  Everyone seems to like each other, even the two fathers, and do what they need to keep the others in their lives happy.  However, when Jimmy loses his job at the exact same time Moody decides he is taking their family out of state to open a new dealership, Jimmy decides drastic measures need to be taken so he can maintain his close relationship with his daughter, and those drastic measures involve robbing the local NASCAR track, the same NASCAR track which had just fired him from his job.

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You need to go into Logan Lucky knowing that this is more than just a heist film, and I don’t mean that in an artistic “this is deeper than it appears” way, I mean it literally.   While it is billed as a heist film, largely due to Soderbergh’s direction I imagine, the heist is only one part of a much larger story which is also part family drama, part prison break,  and part police procedural.  After the heist portion of the film was over, I’d guessed the movie itself was pretty much over with just loose ends left to wrap up, but the movie kept going and going for quite some time afterward, long enough to weave in an additional major character and an entire subplot.  This threw me as for the last 40 to 50 minutes of the film I kept expecting it to wrap up at any time, and had me leaving the theater thinking the film had serious pacing problems, but in actuality it was my expectations of Logan Lucky I’d gotten from its marketing campaign that was the real problem.  Part of me wants to see the film again (and, I’m sure I will one day) to verify if the issue is honestly one with the film or with myself, but I can say for sure that knowing about this quirk of the plot’s structure will make for a smoother experience.

Aside from that, I have little but praise for Logan Lucky.  The script by Rebecca Blunt combined with Soderbergh’s direction give us a story which, while not that creative, is hilarious, charming, and often surprising.  Much like the characters, the story is one that on the surface is very, perhaps overly, familiar, but the individual pieces that make the story move are a constant source of offbeat epiphany.  The source of both the humor and the drama in Logan Lucky come from our own discoveries of why the unexpected make perfect sense with nary a fart joke nor artificial dramatic contrivance to be seen.

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The most impressive element of Logan Lucky, though, is the fact that the entire cast is made up of real actors.  For a long time the A-List movie stars in Hollywood have been movie stars, not actors.  They have enough charisma that we love watching them, and we pay to do so over and over again, but we are really just watching them be their magnetic selves with minor variation.  The cast of Logan Lucky are actors.  Real actors.  Daniel Craig transforms into country bumpkin chemistry savant Joe Bangs so thoroughly that his speech, his body language, and even the look in his eyes won’t give even the slightest of hints that he is also James Bond.

While due to his fame, Craig’s transformation may the most impressive, it’s Riley Keough’s performance that really makes me sit up and take notice as I think this is a girl of incredible talent who we will be seeing a lot of in the near future.  Her most famous role was as the red headed wife Capable in Mad Max: Fury Road.  Earlier this year she played the wife in the young family who join the main characters in It Comes At Night, and that performance was made impressive in that she had to not only play the role straight, she also had to play the role as a fantasy of one of the other characters, and neither of those portrayals was even a bit reminiscent of Capable.  Here she is again, in another completely different role again so different from her others that I probably would not have immediately recognized her had her talent not caught my attention in her previous acting work.  I’m waiting for her to do a musical, because if she can sing as well as she can do drama and comedy, then the amount of talent she has is downright unfair.

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Final verdict:  Logan Lucky is easily the best crime movie of the year, so far, ranks right up there with the best comedies, and shows some real heart on top of that.  The well written script isn’t without its flaws, but the acting is award worthy.  The only reason I don’t list Logan Lucky as a must see film is because it does have a lack of true depth, and that may bother those who go to see a movie primarily for intellectual reasons, but if you’re looking to laugh, cheer, and emote, then Logan Lucky will push all the right buttons, and its ending will even give you something to think about once the final frame has flashed by.