Exploring the origins of everyone’s favorite independent intelligence agency, the third installment in The Kingsman franchise takes viewers on an over-the-top journey through time. Heading back to the early 20th century, viewers of The King’s Man run into one of history’s most intriguing villains, none other than the great and powerful Grigori Rasputin himself.
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Rasputin is portrayed by Rhys Ifans with an amount of excess that seems hammy at first but (from what history knows of the Russian “holy man”) is probably right on the money. Either way, the film’s over-the-top nature works, and director Matthew Vaughn manages to deliver a solid third entry into the series, thanks in part to its veteran cast and engaging action sequences.
Vaughn is no stranger to crafting effective action sequences after his time behind the camera of the other films in the series as well as entries in the X-Men universe and the Kick-Ass franchise. With Vaughn behind the wheel, The King’s Man takes franchise fans on a wild ride replete with exceptional set pieces and enough fan-bait to please the die-hards. And despite some outrageous plot points, it’s highly possible the film could be a launching point for a string of sequels centered around Orlando Oxford (Ralph Fiennes).
The King’s Man: Over-the-Top But Satisfying
What it may lack in plausibility, The King’s Man compensates for in flashes of brilliance, mostly thanks to its stacked cast and built-in backstory. Not without its problems, it’s still an overall solid film, exactly what one would expect from The Kingsman franchise, Matthew Vaughn, and 20th Century Studios.
The film starts strong, with impressive cinematography and a heart-wrenching opening act that becomes the catalyst for the film. Grounded solidly in reality up until this point, the film then takes a detour into the weird world of Grigori Rasputin, the Siberian mystic who served as a trusted advisor to the Romanov family in the years leading up to the Russian Revolution. Rhys Ifhan’s cartoonish Rasputin pops up in the second act in a way that distracts viewers from the more serious themes of the film.
That being said, Rasputin’s role in the narrative and Ifans’ performance don’t necessarily detract from the enjoyment of the film, but franchise fans may be happy to know that (spoiler alert) the Russian mystic is fortunately not the film’s big baddie. Eventually, the film gets back on track to being what it was intended–a character-driven story that explores the weighty themes of civil injustice, honor, and the tragedy of war.
And the actors carry that weight exquisitely. There are no moments where it feels like the cast is in over their heads. Instead, it feels right to say that it is the sheer talent of the cast that succeeds in selling some campy elements and silly characters to the audience, in effect saving a few of the weaker moments of Vaughn’s 3rd entry. An example of dialogue from Orlando Oxford that saves the day: “It’s not fighting, it’s dying. Much like this conversation.”
What’s more, the narrative holds together quite well despite these few awkward moments. Orlando Oxford’s journey, at least from an emotional perspective, is very relatable and honorable; he’s a good father, a patriot, and a husband who’s love and admiration for his wife weighs heavily.
It’s an effective formula that may leave audiences wanting more. And since the ending lends itself to a sequel in an authentic way, as opposed to a prequel being made for the sake of creating more prequels, audiences may see one or two more early 20th century Kingsman entries.
If the prequel sequels get the green light, here’s hoping that they continue to feature Ralph Fiennes as Orlando and the amazing Djimon Hounsou as Merlin. Perhaps the next installment will find these two heading to Germany for Europe’s next major historical event to foil nazi’s and thwart Hitler. Or just as easily, Mr. Oxford may retire his suit to pursue a life in court. Because, after all, he is a gentleman.
The King’s Man is streaming now on Amazon Prime and HBO Max.