'The King's Man' Review: A Prequel That Moves The Franchise Forward, Not Backward
Director Matthew Vaughn’s beloved, irreverent franchise has returned, delivering what fans have come to love, while also breaking new ground with a wide array of new, colorful characters.
Following ‘Kingsman: The Golden Circle’, fans of the franchise were seemingly disappointed to hear that Matthew Vaughn would be tackling a prequel, rather than a sequel to the film. However, after seeing the frustrating and imbalanced sequel, the prospect of exploring new characters and territory within the franchise felt refreshing and most of all, promising.
‘The King’s Man’ takes place during World War I and weaves the story of the humble beginnings of the Kingsman agency, as our central character named Orlando Oxford (Ralph Fiennes) tries to foil a plot that may wipe out millions of lives. In addition to Fiennes, this impressive cast includes the likes of Gemma Arterton, Harris Dickinson, Djimon Honsou, Matthew Goode, Tom Hollander, Daniel Bruhl, and Rhys Ifans, who delightfully relishes every second of playing the venomous Rasputin. Each member of this talented ensemble fully understands the assignment, their performances matching the tone of the film perfectly. Fiennes in particular is a standout, showcasing the right amount of gravitas, heart, menace, and class that makes him a protagonist that not only is entertaining to watch, but easy to root for.
One of the highlights from the two previous entries in the franchise that remains intact is Vaughn’s assured direction behind the camera, particularly the action sequences. Every action scene is not only beautifully filmed, due in large part to the gorgeous work from cinematographer Ben Davis, but visceral and highly immersive as well. No two action scenes in the film feel alike, keeping the proceedings feeling fresh rather than redundant. A climactic sword fight towards the end of the film showcases what this franchise is truly capable of when it’s firing on all cylinders, a perfect balance of camp and intensity.
The new characters are delightful, particularly Arterton’s Polly, who can not only handle herself physically, but intellectually as well, especially when she’s trading verbal blows with Fiennes’ Oxford and maintaining the upper hand. However, the beating heart of the film is the core relationship between Oxford and his son Conrad, played by Dickinson. The friction and love between the two feels earned and lived in, never forced, and the evolution of their relationship throughout the course of the film is handled with a deft hand.
Despite consistent entertainment value and terrific performances, the tragic flaw of The King’s Man is its identity crisis. It feels as if the viewer is watching two separate films taking place simultaneously, one a harrowing World War 1 story akin to ‘1917”, and the other a Kingsman tale that happens to take place during the same time period, possessing far more humor and irreverence. Both are compelling, but they don’t coalesce or bleed into one another naturally, leaving the film feeling disjointed. As a result, the film becomes a frustrating viewing experience, making it difficult to grasp what tone or balance its trying to strike.
The King’s Man may not be a perfect film by any stretch of the imagination, but its new setting, stellar action sequences, and myriad of new characters help breathe new life into this wholly unique franchise, which will likely please fans eager to see it. Vaughn continues to show his capabilities behind the camera and his skills as a storyteller, crafting a prequel that feels like a step forward in the right direction for this series. With an officially announced sequel once again involving Taron Egerton’s Eggsy on the way, it’s hard not feel optimistic about where this franchise could go next.