Redemption (Hummingbird)


Don't keep Jason Statham waiting for his drink.

Don’t keep Jason Statham waiting for his drink.

(2013) Action (Roadside Attractions) Jason Statham, Agata Buzek, Vicki McClure, Benedict Wong, Ger Ryan, Youssef Kerkour, Anthony Morris, Victoria Bewick, Christian Brassington, Danny Webb, Sang Lui, Bruce Want, Dai Bradley, Siobhan Hewlett, Steven Beard, Ian Pirie, Lillie Buttery, Macey Chipping, Emily Lue Fong, Michelle Lee. Directed by Steven Knight

We all do things we’re not proud of. It’s just a part of living and learning. Sometimes we do and say things we wish we could take back. Sometimes we make decisions that upon reflection were unwise or thoughtless. Other times we do things out of self-interest that end up having unintended consequences. Still other times we do things we know are wrong but we do them anyway. The ramifications of the latter can be devastating.

Joseph Smith (Statham) – not the Mormon leader – is a British soldier in Afghanistan. He has deserted from the army and lives on the streets of London, a homeless alcoholic. He’s also suffering from major PTSD, often seeing hallucinations of hummingbirds. He shares a cardboard box with Isabel (Bewick), a drug-addicted prostitute who’s also homeless. The two are set upon one night by thugs who snatch Isabel and chase Joseph off. He finds his way into a very snazzy flat – one in which the wealthy owner will be leaving conveniently vacant for 8 months, returning on October 1st as Joseph discovers on the answering machine.

Rather than wallow in the new found luxury, Joseph decides to change his life around. He shaves, puts on a new suit and with the help of a conveniently left credit card reinvents his image. He becomes Joseph Jones and even gets a job washing dishes in the kitchen of a Chinese restaurant. When some rowdy customers need to be evicted, Joseph evicts them none too gently, catching the eye of his employer Choy (Wong) who is impressed and makes Joseph his driver/enforcer. Now known as Crazy Joey, Joseph spends a lot of his new salary on feeding the homeless, and thanking the comely Sister Cristina (Buzek) who runs the soup kitchen that fed him while he was on the streets. The two strike up one of those more-than-friendship things. He even has enough to help out the wife (McClure) and kids he left behind.

Then he finds out that Isabel was beaten to death and dumped in the Thames. Once he gets over his grief, he knows that his time in the flat is running out and Sister Cristina is off to do missionary work in Sierra Leone – coincidentally, on the same day. He has one more job to do before he returns to his homeless, drunk existence – revenge before redemption.

This is the directorial debut of Knight, best known for writing the gritty David Cronenberg film Eastern Promises and there’s a similar vibe here. The seedy side of London is filmed unapologetically and without accusation – this is just the way things are, that’s all. No pointing fingers, no sermonizing. Everyone has their story and Joseph has his (and yes, we do find out what happened in Afghanistan to drive him AWOL and to the streets of London).

Statham is the premiere action star going, even more so than Liam Neeson in that Statham is more bred for the type of role than Neeson who had a thriving dramatic career and an Oscar to his credit before changing paths into the ass-kicking one. But, like Neeson, Statham has some acting chops – perhaps not quite to the degree of Neeson – but there nonetheless. The main complaint about Statham is that he doesn’t seem to portray a lot of emotions other than anger, bonhomie and cheerfulness. It’s a fair enough criticism, but it can’t be made here as we see Statham at his most emotionally vulnerable maybe ever. He also kicks plenty of butt however, so no worries on that score.

Knight, who co-wrote the movie, gets the benefit of cinematographer Chris Menges who gives us plenty of neon-lit images, some of which are pretty scintillating. However, the thing that kind of puzzles me is that Knight, who is quite a good writer judging on his resume, put so many frankly unbelievable coincidences in the script. For example, who would leave an expensive flat vacant for eight months without someone checking on it at least periodically, or without a security system installed?

Statham’s performance thankfully elevates the movie beyond its writing flaws. This isn’t going to be the movie that elevates him beyond the typical action roles he gets, but it’s certainly another brick in that particular wall. In the meantime, we can enjoy him at his butt-kicking best.

WHY RENT THIS: Statham is always entertaining. Some pretty nifty fight scenes.
WHY RENT SOMETHING ELSE: Requires too much stretching of the imagination. Been there done that plot.
FAMILY VALUES: Brutal violence, graphic nudity and lots of foul language.
TRIVIAL PURSUIT: The movie was filmed almost entirely at night in environs in London where homeless people hang out; several also served as extras in the film.
NOTABLE DVD EXTRAS: None listed.
BOX OFFICE PERFORMANCE: $12.7M on a $20M production budget.
SITES TO SEE: Netflix (DVD rental/Streaming), Amazon (rent/buy), Vudu (rent/buy),  iTunes (rent/buy), Flixster (rent/buy), Target Ticket (rent/buy)
COMPARISON SHOPPING: Safe
FINAL RATING: 6/10
NEXT: The Search for General Tso

Chely Wright: Wish Me Away


Chely Wright: All-American girl.(2011) Documentary (First Run) Chely Wright, Stan Wright, Rodney Crowell, Russell Carter, Rosie O’Donnell, Christopher Wright, Cherie Combs, Don Cusic, Natalie Morales, Chuck D. Waiter, Jennifer Archer, Welton Gaddy, Howard Bragman, Blair Garner, Meredith Vieira, Tony Brown, Richard Sterban, Charlene Daniels. Directed by Bobbie Berleffi and Beverly Kopf

I am not a big fan of country music; it’s nothing against those who play it or those who listen to it, it’s just that the music doesn’t connect with me in the same way rap doesn’t connect with me. I’m a rock and roll boy, plain and simple, but I do respect country for many reasons; it’s songwriting in most cases stripped down to the essentials, telling stories and making characters that live and are relatable to a vast audience.

More important in my opinion is the relationship between the musicians and the fans. Now, country music fans are no more rabid than fans of other musical genres when it comes to loving their appointed obsessions, but it is from the other direction that the true magic happens. The performers of no other genre appreciate their fans as much as those in country music overall. Despite the often cutthroat nature of the business end of country music (which is the same as in other genres), the performers tend to reflect traditional American values. It’s what their fans expect.

Given that the majority of country music listeners tend to lean politically to the right (ask the Dixie Chicks about that sometime), it was virtually unthinkable that any artist would come out as gay. There is a very strong fundamentalist Christian element in not only the fan base of country music but also in the music itself, which very much espouses Christian values and patriotic pride. In many ways, country music is the most quintessentially American music there is. In it is the optimism, the pride and the attitude that defines us not only to ourselves but to the world.

Chely Wright fit into that world like a glove at first glance. Hailing from mid-Kansas from a religious family, she was blessed with beauty queen looks. A supremely talented singer and songwriter, she burst onto the Nashville scene like a ray of sunshine on a rainy day and took Music City by storm. In time she had hits like “Shut Up and Drive” and “Single White Female.” She was dating Brad Paisley. You’d think she’d be on top of the world.

But she wasn’t. You see, she was harboring a secret – Chely Wright was a lesbian. Her biggest dream in the whole world, ever since she was a little girl, was to be a country music star and she believed that her sexual orientation might keep her from that dream. She resolved at an early age to keep her identity as a lesbian a secret; she would not pursue any intimate relationships with women and in doing so she’d achieve her dream. And achieve it she did.

But the cost was too high. The weight of her secret was a burden too powerful and too heavy to bear and eventually she found herself in front of a mirror with a gun in her mouth. She knew she couldn’t live this way any longer. She would have to stop living this life and come clean, not just for herself but for the many others like her, living with their own lies.

Chely’s coming out had to be handled very delicately and indeed it was. Publicists and marketing personnel sat down with her and orchestrated the campaign. It would be done, as all things in Chely’s life were, with music and in this case, also with a book. It would be a big deal. But before she could tell her fans, she had to tell her biggest fans first – her family.

Berleffi and Kopf were given extraordinary access into Chely’s world for three years leading up to her announcement and the days following it. They spoke with friends, family and fans, sometimes getting some truly moving material, as from her dad, her incredibly supportive sister and her Aunt Char – devout Christians all but also as non-judgmental a group as you’re likely to find.

But most moving of all is Chely’s own video diary, which she kept without the filmmakers knowledge. In it she revealed her most intimate thoughts and feelings, often so raw that you can’t help but cry along with her. When we use the term “courageous artist,” when referring to a singer/songwriter who reveals her most vulnerable side, it was invented for Chely Wright. Her dilemma of her childhood dream versus her identity is a struggle not many straight people may be able to relate to but I am sure a lot of LGBT readers instantly recognize a good deal of what Wright discusses as things and thoughts they went through.

The documentary isn’t breaking new ground in terms of presentation; it’s mainly interviews and archival footage but the video journal elevates this from merely typical and the presence of Ms. Wright herself makes this something special. Throughout you get a sense of her sincerity and her inner light, which you watch being extinguished and then miraculously relit when she finally does come out. Yes, it did cost her some of her fans but a surprisingly large number of them stayed right with her. It turns out that there is a lot more tolerance in the country music fan base than anyone, including Chely Wright herself, first thought. That’s heartening.

WHY RENT THIS: Wright is an impressive and courageous role model. Her video journal excerpts are particularly riveting.
WHY RENT SOMETHING ELSE: The media management is a bit cynical.
FAMILY VALUES: Adult thematic material and a few mild cuss words here and there.
TRIVIAL PURSUIT: The theme song for the film, “Shine a Light,” was written and recorded by Wright specifically for the film.
NOTABLE DVD EXTRAS: Home video footage of Chely and her wife relaxing at home.
BOX OFFICE PERFORMANCE: $18,618 on an unknown production budget.
SITES TO SEE: Netflix (DVD rental), Amazon (download only), Vudu (rent/buy),  iTunes (rent/buy), Flixster (unavailable), Target Ticket (rent/buy)
COMPARISON SHOPPING: Before You Know It
FINAL RATING: 8/10
NEXT: Redemption

New Releases for the Week of February 27, 2015


FocusFOCUS

(Warner Brothers) Will Smith, Margo Robbie, Rodrigo Santoro, BD Wong, Gerald McRaney, Stephanie Honore, Brennan Brown. Directed by Glenn Ficara and John Requa

In order to succeed as a con man, it takes a number of things. First, it takes the ability to make people trust you. Second, it takes the ability to think on your feet. Most important, it takes focus and a good con man has plenty of it, able to keep the lie afloat under any circumstances. When a beautiful young novice comes into this particular con man’s life, at first he takes her under his wing. When she gets too close and his concentration begins to suffer, he breaks things off. Years later when in the midst of a dangerous and lucrative con, she reappears. Can he maintain his focus and pull it off or will his lack thereof put them all in danger?

See the trailer, clips, interviews and B-roll video here.
For more on the movie this is the website.
Release Formats: Standard, IMAX (opens Thursday)
Genre: Crime Drama
Now Playing: Wide Release
Rating: R (for language, some sexual content and brief violence)

A la mala

(Pantelion) Aislinn Derbez, Mauricio Ochmann, Papile Aurora, Luis Arrieta. When an aspiring actress’ best friend begs her to flirt with her boyfriend in order to test his fidelity, she finds herself beginning a lucrative career as it turns out plenty of suspicious women want to see if their boyfriends can pass the test. However, when the actress falls in love with one of her marks, things get complicated in a hurry.

See the trailer and a clip here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Romantic Comedy
Now Playing: AMC Downtown Disney, AMC The Loop
Rating: R (for crude sexual content and language throughout, graphic nudity, drug use and some violence)

Badlapur

(Eros International) Nawazuddin Siddiqui, Varun Dhawan, Yami Gautam, Divya Dutta. After the love of his life is killed, a man plots revenge against the people who caused the tragedy.

See the trailer here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Thriller
Now Playing: AMC West Oaks
Rating: NR

Deli Man: The Movie

(Cohen Media Group) Ziggy Gruber, Larry King, Jerry Stiller, Fyvush Finkel. Ziggy Gruber grew up in the business; his family owned the Rialto Delicatessen on Broadway, the Woodrow Deli on Long Island and Berger’s in the diamond district. Now French trained, Ziggy owns his own deli  in – of all places – Houston. Ziggy becomes our guide into the wondrous and delicious world of the Great American Deli, visiting such cathedrals of corned beef as Canter’s, the Carnegie Deli, Nate ‘n’ Al’s and Katz’s as well as interviewing some of the country’s most notorious deli fans.

See the trailer here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Documentary
Now Playing: Regal Winter Park Village
Rating: PG-13 (for some language)

The Lazarus Effect

(Relativity) Olivia Wilde, Mark Duplass, Donald Glover, Sarah Bolger. Conquering death has always been a human ambition – after all, nobody wants to die. However, when a rogue research team actually discovers a way to bring back the dead, the consequences are far-reaching. It’s not so much bringing the dead back to life; it’s what they bring back with them.

See the trailer, clips, interviews, a featurette and B-roll video here.
For more on the movie this is the website.
Release Formats: Standard (opens Thursday)
Genre: Horror
Now Playing: Wide Release
Rating: PG-13 (for intense sequences of horror violence, terror and some sexual references)

Leviathan

(Sony Classics) Elena Lyadova, Aleksey Serebryakov, Vladimir Vdovichenkov, Roman Madyanov. In a small Russian village, a dispute over land causes a ripple effect in both the village and the family at the center of the dispute. As the fight moves into the Russian legal system, the fundamental flaws and corruption in that system are brought to light. This was an Oscar nominee for Best Foreign Language film earlier this month.

See the trailer here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Drama
Now Playing: Regal Winter Park Village
Rating: R (for language and some sexuality/graphic nudity)

Maps to the Stars

(Focus) Julianne Moore, John Cusack, Mia Wasikowska, Robert Pattinson. Hollywood is the center of planetary artifice, both in the movies and among those who dwell there. An actress, trying to escape the legacy of her mother who was a Hollywood great before perishing in a fire, takes on the role her mom was most known for. A therapist who made his reputation on television tries not to allow his celebrity clients to overwhelm him. A tormented young woman, recently released from a mental institution, falls into a strange friendship with a limo driver. As these characters orbit one another, a supernatural presence will make a surprising impact.

See the trailer and clips here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Thriller
Now Playing: Enzian Theater
Rating: R (for strong disturbing violence and sexual content, graphic nudity, language and some drug material)

Hot Tub Time Machine 2


The requisite non-drug user accidental drug ingestion sequence.

The requisite non-drug user accidental drug ingestion sequence.

(2015) Sci-Fi Comedy (Paramount/MGM) Rob Corddry, Craig Robinson, Clark Duke, Adam Scott, Gillian Jacobs, Chevy Chase, Collette Wolfe, Bianca Haase, Jason Jones, Kumail Nanjiani, Kellee Stewart, Josh Heald, Gretchen Koerner, Lisa Loeb, Jessica Williams, Bruce Buffer, Mariana Paola Vicente, Adam Herschman, Kisha Sierra, Olivia Jordan. Directed by Steve Pink

Second chances don’t come easily or often. We generally have one shot at making the right choice. Being human, we don’t always make the right choice, which is where the need for second chances come in.

After having gone back in time and in the process changing their lives for the better, the three buddies are beginning to get a little, well, bored. Lou (Corddry) is a former metal God and tech mogul who’s search engine “Lougle” has slowly been losing market share and is in danger of going under, although Lou – hopelessly coked out, drunk and hooked on whatever drugs he can get his hands on – stays the blissfully ignorant course.

Nick (Robinson) has become one of the biggest recording artist/producers in the world using songs other people wrote – before they wrote them, such as the Lisa Loeb hit “Stay (I Missed You)” (the bespectacled singer makes a cameo as a cat wrangler who confides to Nick that every time she hears his version of the song she feels oddly violated). However, he continues to be somewhat henpecked by his wife Courtney (Stewart).

Jacob (Duke) is essentially Lou’s butler as well as his son and is headed down a similar road as Lou has taken. The relationship between the two continues to be strained.

Then at a party, a mysterious figure shoots Lou in the crotch. Jacob has somehow managed to secret the hot tub time machine in a hidden room in the house. Figuring out that someone had used the time machine in the future to come back and assassinate Lou, they head to the future to try and discover who – among many suspects – would want to murder Lou.

In 2025 they meet Adam (Scott), the son of their fourth member who has apparently disappeared into a dimension all his own. In an era where the loser of a high school classmate Gary Winkle (Jones) has become wealthy because Lou was a dick to him in 2015, where reality TV game shows include virtual anal rape, where smart cars can be homicidal, and where masturbation has gotten the ultimate high tech aid, the crew bumbles through trying to locate the man who shot Lou and stop him from carrying out the plan, leaving Lou to wink out of existence.

The first Hot Tub Time Machine was an example of a movie in which I had low expectations for and was pleasantly surprised; the sequel is an example of a movie in which I had high expectations for and was sadly disappointed. This is nowhere near as funny as the first movie and definitely suffers for the lack of John Cusack who was essentially the anchor of the first film. Corddry, Robinson and Duke were more or less supporting characters and now have to take center stage. Corddry, who was especially good in the first movie, really doesn’t have anywhere to go with his one-dimensional character other than performing the same kind of actions. It’s not as good the second time around.

There are some laughs to be sure, but the movie needs an anchor. A lead character who the action swirls around. Instead we have hear a selection of supporting characters waiting for a straight man. Having Adam Scott – a very talented comic actor – in the mix is a good move, but he doesn’t really have a story line and in the end is essentially another supporting character. Corddry is the ostensible lead but his character functions better on the outside.

I was hoping this would be hilarious (it was originally slated for a Christmas release) but it simply isn’t funny enough. It’s decently entertaining but little more which I suppose is fine for this time of year but definitely makes me yearn for a few months hence when we’ll start to see a better caliber of movie from the studios. For now, this will have to do.

REASONS TO GO: Some sly time travel movie in-jokes. Funny in places.
REASONS TO STAY: Not funny enough. Doesn’t really build on the first movie. Needed a lead character; more of a collection of supporting characters.
FAMILY VALUES: The humor is fairly crude throughout with plenty of sexual references. There’s also some graphic nudity, drug use and foul language as well.
TRIVIAL PURSUIT: John Cusack, who starred in the first film, has said in interviews that he was never approached or received an offer to appear in this film; there are photographs of him that appear in one scene.
CRITICAL MASS: As of 2/24/15: Rotten Tomatoes: 13% positive reviews. Metacritic: 30/100.
COMPARISON SHOPPING: Click
FINAL RATING: 5/10
NEXT: Wish Me Away

Kingsman: The Secret Service


Accessories are important for the true gentleman.

Accessories are important for the true gentleman.

(2015) Spy Action (20th Century Fox) Colin Firth, Samuel L. Jackson, Michael Caine, Taron Egerton, Mark Strong, Sophie Cookson, Sofia Boutella, Mark Hamill, Jack Davenport, Geoff Bell, Samantha Womack, Jordan Long, Tobi Bakare, Nicholas Banks, Edward Holcroft, Morgan Watkins, Jack Cutmore-Scott, Hanna Alstrom, Fiona Hampton, Lily Travers. Directed by Matthew Vaughn

The spy movies of the late 60s and onward have a certain place in the cultural psyche. They represent a particular era, sure, but they also represent the fight between good and evil, our fascination with technology and a certain sense of humor about life in the modern age. Our attitudes towards women, patriotism, freedom and what constitutes a gentleman have been largely shaped by these films.

Gary “Eggsy” Unwin (Egerton) is growing up aimlessly in a working class London neighborhood. His dad died when he was a baby and his mom (Womack) has taken up with a local thug (Bell) named Dean. Dean abuses his mom but Gary isn’t strong enough to stand up for her or for himself. Dean despises him and ridicules him for it.

But Eggsy has a good heart to go along with his Cockney accent and when he gets arrested for stealing the car of one of Dean’s underlings and leading the police on a merry chase, he knows he can’t call home. Therefore, he calls the number on the back of an amulet once given to his mother by a gentlemen who came to inform her of the death of Eggsy’s father, remembering that if he called that number and read a certain phrase, help of whatever nature was needed would be forthcoming.

It comes in the form of Harry Hart (Firth), a debonair and well-dressed gentleman who tells Eggsy that in fact, his father once saved Harry’s life and that Harry wanted to repay that debt by offering his son the opportunity to try out for a position in the same super secret organization that his father served in and that Harry in fact serves in now – the Kingsmen. No, not the “Louie, Louie” bunch.

The Kingsmen are a secret, non-government affiliated group of highly trained, highly skilled gentlemen. They aren’t spies particularly; what they do is prevent bad things from happening. They have a seemingly unlimited budget and there are only a set number of them; when one dies they are replaced. This is the group that Eggsy is about to join – if he can survive the process of selecting the winning applicant, that is and it is a brutal one, focusing on teamwork, thinking on one’s feet and assessing dangerous situations. Most of the applicants are upper class snobs, although Eggsy befriends Roxy (Cookson), a female applicant (who gets her share of grief from the snobs, as does Eggsy) and Merlin (Strong), the tech wizard of the Kingsmen and the right hand of Arthur (Caine), head of the organization.

In the meantime, a tech billionaire named Valentine has big, bad plans. See, he’s a little bit concerned about climate change. Okay, he’s a lot concerned about climate change. He’s given up on the government doing anything about it and has decided that to make humankind’s carbon footprint smaller he needs to make the population smaller. His plan is to use a special cell phone signal through special SIM cards in free cell phones he’s given away to nearly everyone trigger a violent, murderous rage in those who hear it. Only those wealthy, beautiful few who he’s personally approached and implanted a microchip that cancels out the signal in their heads will be immune to the carnage, especially after they all are safely ensconced in bunkers around the world.

It’s a mad plan, certainly but Valentine is deadly serious about it. He’s even hired himself a mercenary army and constructed a lair within a mountain. You know he’s got to be a villain with a mountain lair. In any case, with Valentine’s powerful connections, getting to him won’t be easy and preventing an anarchic Armageddon even less so but that’s what the Kingsmen are there for, after all – to save the day.

Vaughn has made films based on Mark Millar comic series before (as this film is) and the collaborations between the two have been fruitful, producing the fine superhero film Kick-Ass for example. Vaughn has become one of my favorite directors of late with some excellent genre films to his credit. He knows how to make a film visually spectacular and hit all the right buttons in the fanboy psyche while not taking the movies so seriously that they become ponderous. His movies are almost always deeply entertaining.

And this one is no exception. Colin Firth as an action hero seems like a pretty unlikely casting, but it works here. Firth actually performed a surprising amount of his own stunts, but handles the role well, keeping a Bond-like facade of cool while kicking the butts of a group of Dean’s thugs, or some of Valentine’s flunkies, or a church full of homicidal fundamentalists.

Samuel L. Jackson makes a fine villain. Given several personality quirks (he gets violently ill at the sight of blood for example) by the writers, Jackson gives the character a lisp that makes him all the more memorable which is in the grand tradition of Bond villains. While the lisp does occasionally fall off, Jackson gives the character the right amount of menace to make for a formidable foe but enough goofiness to give the film a lighter tone. He also gets a nifty assassin in Gazelle (Boutella), who has no legs but on her Pistorius-like artificial limbs is fast, graceful and deadly as she is able to unfold sword blades from those artificial legs while in mid-air. Tres cool.

There are a lot of asides to the spy movies and television series of history; a reference to the Get Smart! shoe phone for example, or the glasses worn by super-spy Harry Palmer in films like The Billion Dollar Baby and The Ipcress Files. Clearly there are several Bond references although many are turned on their ear; Valentine at one point has a speech in which he says “This is the part where I reveal to you all my plans, and then come up with a slow and convoluted way for you to die, and you come up with a convoluted way to escape and stop me. Except this isn’t that kind of movie” at which point he shoots his nemesis in the head, much like Indiana Jones once shot a swordsman making fancy moves before he could attack.

Egerton shows a lot of potential, although I can’t say he’s a slam-dunk future star. He’s got charisma but he wasn’t really asked to carry this movie (as well he shouldn’t have been) and so I’m not certain he can rise above the gimmicks and gadgets, of which there are plenty here. The jury is out on him for me, although I can see him eventually ascending to a leading man status.

The humor here is mostly dry although there are some broad physical jokes here from time to time. Those who find the English wit not to their liking may consider this not their cup of tea, although I enjoyed this a great deal. In fact, this is the most entertaining movie I’ve seen thus far this year (which isn’t saying much) and one of the most entertaining I’ve seen in the first quarter of any year (which is saying a lot) ever. For those looking for a fun time at the movies, this is your best bet at least until some of the more anticipated movies of the spring start appearing next month. I certainly wouldn’t complain if this became the start of a new Fox franchise.

REASONS TO GO: Highly entertaining. Great action sequences. Strong performances throughout.
REASONS TO STAY: Relies a bit on gimmickry and gadgetry. May be too droll for some.
FAMILY VALUES: Plenty of violence and mayhem, some pretty crude language and some sexuality and brief nudity.
TRIVIAL PURSUIT: The menswear shop on Savile Row which is the entrance to the Kingsman headquarters is based on Huntsman, a real store in the area. Because shooting in the actual shop would have been impractical, a set was built copying many of the characteristics of the original although production designer Paul Kirby added his own touches to give the set its own personality.
CRITICAL MASS: As of 2/22/15: Rotten Tomatoes: 73% positive reviews. Metacritic: 59/100.
COMPARISON SHOPPING: This Means War
FINAL RATING: 7/10
NEXT: Hot Tub Time Machine 2