THE KING’S MAN – Review

So, here’s a bit of a “flip”. This pre-holiday Wednesday sees the release of two sequels, SING 2 and MATRIX: THE RESURRECTION (not that unusual for the big studios). So, what almost “balances” them out? Why a “prequel”, naturally. And though you’d think that the first film of this franchise back in 2015 would count as an “origin” story, this one goes further back. Much further, nearly a hundred years really. In that first flick, a super-secret society was in full operation, but we didn’t know how or when it was first formed. Well, wonder no more. It’s time to head down for a “fitting” and learn about that original “sharp-dressed man”, THE KING’S MAN.

It all really begins near the turn of the 20th century, as the wife and son of British military man Orlando Oxford (Ralph Fiennes) visit him at a remote foreign outpost. A surprise attack results in tragedy despite the best efforts of their trusted valet, Shola (Djimon Hounsou). The now widowed Oxford must raise his son alone. As he becomes a strapping teenager, Conrad (Harris Dickinson) displays great fighting skills as he trains with Shola. Ah, but the now Duke of Oxford will not allow his son to follow him into the armed forces. This even after a meeting with old friend General Kitchener (Charles Dance) and his aide Morton (Matthew Goode) concerning foreign agents activity. Most of these operatives are part of the “Shepherd’s Flock” who report to a mysterious shadowy leader working atop a nearly impenetrable mountain mesa. At his table are Mata Hari (Valerie Pachner), Hanussen (Daniel Bruhl), and the sinister Rasputin (Rhys Ifans). They devise a plan to plunge Europe into world war by manipulating King George, Kaiser Wilheim, and Tsar Nicholas (all played by Tom Hollander). When one of these spies tries to kill Conrad, the Duke decides to get involved and confess that he’s using his own spy network of servants, with the help of Shola and housekeeper/nanny Polly (Gemma Arterton). As global conflict looms the quartet travels the globe trying to thwart the master plans of “The Shepherd”. But when war does break out can the Duke stop his son from enlisting? And should he expand his society in order to prevent future masterminds?

After the previous films in the series, it’s a bit of a surprise that the main “man of action” this time out is screen vet Fiennes. He propels the story deftly going from will action, yes I know there are doubles, but it’s still fairly impressive) and moments of great sorrow and angst. Earlier this year he did great work on THE DIG (if you’ve got Netflix make time for this) and NO TIME TO DIE (a pro-active “M”), and he does the “heavy lifting” on the uneven script. The Duke can’t quite bring the same intensity to his son’s character. Conrad is earnest, smart, but a bit bland despite the best efforts of Dickinson. Aside from butting heads with his papa, he’s a catalyst to the agency’s start. Ifans seems to be having a grand time as the truly unstoppable real-life ghoul of history, Rasputin, exuding unbridled lust and feral ferocity. He doesn’t give off the same exotic charisma as Christopher Lee did over fifty years ago, but he’s a worthy adversary for the Oxfords. Hounsou is a terrific advisor and “gadget guru” as he toils in the shadows making much more of an impression than the criminality underused Arterton as third-in-command Molly. She does make a mark in a big action sequence, then seems to vanish for too many scenes only popping up to inspire the Duke and hint at her romantic “pining” for him. My hopes that we’d see a bit of her Gretel role in this film were coldly dashed. Almost having as much fun as Ifans is Hollander who juggles lots of mannerisms and accents in his multiple roles.

Veteran franchise director Matthew Vaughn still brings a lot of kinetic energy to the splashy action sequences, though his jumps into ultra “slo-mo” can curtail the momentum. Unfortunately, these bits of daring feel few and “far between”. There seem to be far too many conversations setting the historical settings and the big action-setpiece final act. Perhaps another “pass’ at the script that Vaughn co-wrote with Karl Gajdusek might have smoothed it out. As it stands, the script lurches about, changing tone so swiftly as to induce whiplash. One minute it’s a tragic adventure, then suddenly it’s a raucous comedy full of buffoonish caricatures, then it’s a tale of high political intrigue. The biggest stumble might be a sequence set during the “last great war’ with the trenches seemingly leftover from the much-better 1917, along with a desperate clash in “No Man’s Land” that pales next to a certain Amazon’s charge toward the guns. Its harsh reality doesn’t fit with the outrageous fantasy elements, let alone the raunchy slapstick of the ghoulish horny Russian. Then all the plots collapse on themselves (blackmail in the White House), in order to get to the “franchise formation”. It just all feels tired and more than a little stale (the film’s been sitting in a vault for two years, so it’s well past its “expiration date”). If you’re in the mood for a big comics-inspired “thrill-machine” there are much better choices than the tepid, tedious, “back-story” of THE KING’S MAN.

1.5 Out of 4

THE KING’S MAN opens in theatres everywhere on Wednesday, December 22, 2021