š¬ Overview
Argylle continues the trend of stylish spy-action-comedy films by Matthew Vaughn, who is best known for his hyper-kinetic Kingsman franchise. Here, he aims to take things one layer deeperāor higher, depending on your tolerance for meta-narrativesāby crafting a spy film about a spy novelist who becomes embroiled in actual espionage that parallels the tales she pens. Itās an ambitious concept, delivered with tongue in cheek, but one that quickly unravels under the weight of its own convolutions.
For starters, the film strives to be sleek, self-aware, and satisfy audiences simultaneously. Because of these, the film suffers inconsistently spaced emotional stakes and leaves a frustrating blend of too many crammed ideas.
š Plot Summary
Argylle’s cast includes Bryce Dallas Howard as Elly Conway, who is the bestselling author of spy thrillers starring the ultra-suave Agent Argylle played by Henry Cavill. Argylle is a square-jawed super-spy with gravity-defying hair and charisma dialed to eleven. Elly, who is a reclusive cat lover, mysteriously aligns fictional plots with real-world espionage events while finishing her next Argylle novel.
Enter Sam Rockwell as Aidan, a scruffy yet lethal espionage operative who tells Elly that her novelsās plots have been astonishingly accurate enough to warrant global spy syndicates trying to kill her. Together, they embark on an adventure packed with international espionage, double agents, treacherous high-tech secrets, betrayals, and an ever-expanding toolkit of absurd revelations leading to a multi-layered twist ending that aims to shatter the audience’s expectations of the narrative.
It is all designed to be clever and inward-looking, but while the creativity is commendable, the execution becomes too chaotic, masking the excitement with an laborious effort in a convoluted storyline.
š Performances
Perhaps the only highlight of the film is Howard’s portrayal of Elly, whose role is written more for the comedy to shine at her expense. Though she does manage to bring some warmth and relatability to the chaos, the character remains inconsistently underwritten, at times inexplicably naive, and at other moments a sharp self-aware commentator.
Cavill’s screen presence is surprisingly underwhelming relative to the expectations set by his promotion and meme-referencing locks. Argylle is a bland fusion of Bond and Hunt that lacks depth – a caricature so feeble that he fails to make an impact.
Sam Rockwell is the film’s MVP. He is scruffy and sarcastic, and his kinetic energy is fully committed. He provides much needed levity and his chemistry with Howard, while playful, is underdeveloped.
Dua Lipa, John Cena, Catherine O’Hara and Samuel L. Jackson complete an overstuffed roster of cameo roles. Most are there for brand recognition and little to no impact, especially Lipa, who, while looking fantastic, has less than a page’s worth of dialogue.
š„ Direction & Style
Matthew Vaughn’s stylized violence, comic-book framing, rapid editing, and intercut slow-motion with slapstick are present throughout. While the action scenes showcase a level of polish, they are visually overproduced and lack the inventiveness of the first Kingsman or Kick-Ass, instead feeling like a sugar high without a strong narrative backbone.
Top-tier production design is on display with sleek costuming, vibrant locales, and standout set pieces, but constant stylistic flourishes grow tiresome. Vaughn seems intent on crafting a meta-textual homage to spy cinema, but the script flounders under the weight of that ambition.
š¶ Score & Soundtrack
The soundtrack has an orchestral spy movie feel with energetic pop elements, especially during the action sequences. There is even a musical number in the film that leans into campy territory, which I suppose depends on oneās tolerance for self-parody in film. While energetic, it does not leave a lasting impression.
š” Themes & Analysis
Meta-Narrative Overload: Striving to blend fiction with reality, the film poses a multitude of questions regarding authorship, identity, and control of oneās narrative. Unfortunately, it is more concept than contentāintroducing intriguing ideas, but never fully embracing them.
Satire Without Teeth: Argylle hopes to satirize the spy genre, but fails to dive deep into it. Unlike Austin Powers or The Nice Guys, it plays too safe. Its satire is shallow, more style than substance.
Too Clever for Its Own Good: The film tries to outsmart the audience with elaborate twists and turns, but the layered and unrealistic reveals sap emotional investment. Instead of feeling thrilled, we find ourselves glancing at the clock.
š Reception & Box Office
Argylle received extensive marketing and promotional materials, coupled with a star cast, yet the film performed poorly both commercially and critically. With a reported budget exceeding 200million,thefilmgrossedslightlybelow200million,thefilmgrossedslightlybelow100 million globally, which is a significant loss by blockbuster standards.
The reception of the film has been largely negative, with reviewers critiquing the excessive runtime of 139 minutes, erratic tone, and superficial plotting. It has a poor reception on Rotten Tomatoes, and many have deemed it one of the most disappointing films of 2024. Even fans of Vaughnās previous works found the film too chaotic to enjoy, and what once seemed like a promising launch to a franchise now appears to be highly uncertain.
š½ļø Comparisons
Better Spy Comedies: The Blend of style with satire showcased in Kingsman: The Secret Service, Spy (2015) and The Man from U.N.C.L.E outshines Argylle by leaps and bounds.
Meta-Fiction Done Right: The profound emotional depth and finesse with which Charlie Kaufmanās Adaptation and The Lego Movie tackle fiction blending with reality far exceeds that of Argylle.
Modern Misfires: Argylle is reminiscent of The 355 and Red Notice in the sense that it is chaotic and genre-bending in its excess while lacking any real depth.
šæ Final Verdict
Rating: ā ā / 5
It is evident that Argylle is a film that tries too hard to be clever by overcomplicating things; essentially āstyleā without any real substance to back it up. Despite having a talented cast and being somewhat entertaining in parts, it fails to live up to its own premise. While the dialogue is sharp and the action flashy, an absence of the filmās core and coherence renders it devoid of substance. Instead of what couldāve been an enjoyable and witty meta spy parody, weāre treated to a confusing and excessive spectacle.
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