“Reputation is what people think of you. Character is what you are.”Duke of Oxford
The third entry in the Kingsman series is an origin story for the secret organisation, told through an alternate history First World War. Vaughn perhaps wished to make a war (or indeed anti-war) movie, and he does produce some sobering footage of the chaos of trench warfare. Ralph Fiennes is a fine precursor to Colin Firth’s gentleman spy, but the Duke’s pacifist desire to shield his son, Conrad, from war feels at odds with the world of Kingsman, and the resulting focus transforms a franchise known for its excess into a tedious matter of fictional politics. Indeed, aside from a brief excursion to Russia to assassinate a scenery-chewing Rhys Ifans as Rasputin, it is only the film’s final half hour that truly feels like a Kingsman film at all. Much of my criticism lies in the script, plagued by awful dialogue and pacing — notably, this is Vaughn’s first film without Jane Goldman, his longstanding screenwriting collaborator. Transferring the authorship of Wilfred Owen’s most famous poem to Conrad is cheap writing and unnecessary revisionism, worst still as the boy has not even been to the front when he supposedly pens it. I criticised the lack of women in The Golden Circle and the situation has not improved, with Gemma Arterton being the sole noteworthy character. The best thing about The King’s Man is that it will surely free Vaughn to move on to other projects outside the franchise. Whether he can return to the rising star I heralded with his exceptional first three films remains to be seen.
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