Disappointing Spy Adventure ‘Argylle’ Is No ‘Kingsman’

Disappointing Spy Adventure ‘Argylle’ Is No ‘Kingsman’

By Alex McPherson

Layered with twist upon twist adding up to not much at all, director Matthew Vaughn’s “Argylle” is a plodding spy adventure that doesn’t fully commit to its unhinged potential. 

Vaughn’s film opens in green-screen-laden Greece, as Agent Argylle (Henry Cavill) is on a mission to interrogate the alluring Lagrange (Dua Lipa) with the help of his sidekick Wyatt (John Cena) and tech wiz Keira (Ariana DeBose). After some flirting, sexy dancing, and a “Looney Tunes”-esque car chase defying all laws of physics through winding streets and rickety rooftops, Argylle and pals capture Lagrange. She says that she’s actually been taking orders from Argylle’s boss, played by Richard E. Grant. 

After this revelation, the camera zooms in on Cavill’s mouth, gradually morphing into Elly Conway’s (Bryce Dallas Howard), who’s finishing a reading of her fourth Argylle novel in green-screen-laden Colorado. Elly, an insecure writer who cares more about her cat, Alfie, than having a social life, is currently writing the Agent’s fifth outing. She’s afflicted with writer’s block — ending on a cliffhanger where Argylle learns about a “master key” that can dismantle the rogue organization once and for all. Elly’s mother, Ruth (Catherine O’Hara), insists she write an additional chapter, and Elly boards a train to meet her.

On board, Elly bumps into an unkempt stranger named Aidan (Sam Rockwell), who informs her that there’s a whole bunch of professional killers out to get her. Apparently, Elly’s novels overlap with real-world espionage, and she can lead Aidan to the location of a flash drive that can bring down “The Division,” led by Director Ritter (Bryan Cranston). Bloodless carnage ensues as Aidan takes down the wannabe assassins — in a fun bit of editing, Elly sees Aidan’s visage switch with Argylle’s between blinks. 

Aidan and Elly embark on a globe-trotting adventure where the lines between reality and fiction blur, limits of good taste are breached, and convoluted plotting takes center stage, with plenty of star-studded cameos, cartoonish action sequences, and “cute” CGI cat close-ups to hold viewers’ interest, or at least attempt to. Can Elly become the courageous Agent Argylle she writes about?

Although displaying flashes of Vaughn’s enjoyable who-gives-a-damn attitude, “Argylle” is a disappointingly stale affair — full of generic characters and filmmaking that largely refuses to meet its story on its own goofy wavelength. It’s a peculiarly dull experience that elicits few thrills despite constantly trying to one-up itself narratively, forgetting to present engaging characters and abandoning the premise’s potential in favor of sandbox-level shenanigans.

Vaughn’s no-holds-barred bravado in the opening is infinitely more enjoyable than Elly’s story back in reality, where Vaughn’s excessive tendencies are held back by a bland protagonist. Indeed, Elly just isn’t all that compelling — she’s a reclusive, socially awkward loner rendered all the more dull by Howard’s seemingly disengaged performance and a screenplay by Jason Fuchs that gives her little of the charm or wit of the people we’re introduced to in her writings. To make matters worse, Elly’s arc over the course of the film isn’t just unbelievable, it’s actively irritating; going from one extreme to another as the latest exposition dump dictates. Howard’s unconvincing line delivery does her absolutely no favors.

Supporting players fare marginally better. Aidan is the sort of likably unstable role that Rockwell slides into perhaps too easily, quipping often and boogying whenever the opportunity arises, albeit held back by the film’s film’s family-friendly “tell don’t show” philosophy. A moment where Aidan lightheartedly instructs Elly how to stomp bad guys’ skulls is amusing though baffling — why not just go with an R rating to begin with? Who is this film made for exactly?

Cranston chews scenery as the Big Bad Ritter, and O’Hara brings chaotic unpredictability to Ruth. Cavill is both suave and awkwardly hilarious in his sadly brief screen time, while Cena, DeBose, Lipa, and the legendary Samuel L. Jackson (who doesn’t even get to drop the film’s only F-bomb) are wasted in glorified cameos — no matter what the film’s promotional materials want you to believe. 

As the 139-minute runtime drags on, Vaughn’s colorful bursts of action — bringing back lovely memories of his “Kingsman” days — are the only elements of “Argylle” that sustain interest. The crazy camerawork, needle drops, and stunts shine with an energy sorely lacking in other departments. Even so, these sequences aren’t allowed to reach their full potential by PG-13 limitations. 

More broadly, Vaughn’s decision to pull punches here extends to plot developments. There’s far too many instances of characters explaining backstory to each other, which viewers rarely get to see unfold. We’re just expected to take Vaughn and Fuchs’ words for it and go along for the ride; shoddy, sluggish storytelling makes that a difficult mission to accomplish.

“Argylle,” then, seems at odds with itself. This could have been a fun spoof on the spy genre if Vaughn and company had the freedom to embrace their strengths and not aim for sanitized zaniness that comes awfully close to insulting viewers’ intelligence. Several entertaining scenes aside, “Argylle” needs to find a new objective.

Rating: C

“Argylle” is a 2024 action-thriller directed by Matthew Vaughn and starring Henry Cavill, Bryce Dallas Howard, Sam Rockwell, Bryan Cranston, John Cena, Ariana DeBose, Dua Lipa, Samuel L. Jackson, Sofia Boutella, Richard E. Grant, Rob Delaney and Catherine O’Hara. It is Rated PG-13 for strong violence and action and some strong language and the run-time is 2 hours, 19 minutes. It opens Feb. 2 in local theatres. Alex’s Grade: C

All-Star Ensemble Has Fun in Light-Hearted Spy Thriller ‘Argylle’

All-Star Ensemble Has Fun in Light-Hearted Spy Thriller ‘Argylle’

By Stephe Raven
Writer’s block. Hmm. Many of us have experienced this when under a deadline. And our heroine Elly Conway (Bryce Dallas Howard) starts off with it. She writes a popular espionage series whose main character is secret agent Argylle (Henry Cavill), who manages to solve mysteries and not get a hair out of place. He is the perfect James Bond type, always suave and gentlemanly.

The action thriller begins with Argylle and his trusty sidekick, goofily played by John Cena, trying to take down a sinister underground syndicate. Annnd cut! In reality, Elly has read a passage at a bookstore. She has a legion of fans who adore her four novels, and she seems taken aback by that. A recluse, she spends her evenings with her fluffy cat Alfie, and seems content with her very simple life, living through her books.

After completing her fifth in the series, she sends the manuscript to her mom (Catherine O’Hara) who advises that it needs to be punched up, and why not come for the weekend so they can brainstorm. Headed there on a train, Elly is disturbed by a scruffy ruffian (Sam Rockwell) who shocks her by saying her books are actually setting off real-life events. Despite her disbelief, he saves her from would-be assassins, and whisks her out of the country. Thus begins her real-life wild ride.

The twists and turns keep coming as Elly discovers that her fictional world is not so make-believe after all.. When she’s in a precarious situation, she calls on Argylle, who gives her sage advice. Some of it is so corny, you have to laugh.

This turn of events introduces more colorful characters, and it’s an all-star list of actors. Bryan Cranston plays Director Ritter, the head of a covert agency called the Division; singer Dua Lipa plays a seductive femme fatale named LaGrange, and Ariana DeBose is a tech-savvy ally, Agent Keira. Also in support are Samuel L. Jackson, Richard E. Grant and Sofia Boutella.

British director Matthew Vaughn, whose credits include “Kingsman: The Secret Service” in 2014, its sequel “Kingsman: The Golden Circle” in 2017, and its prequel, “The King’s Man” in 2021. He also helmed “X-Men: First Class” and “Kick-Ass,” so he knows how to imaginatively stage action scenes and uses humor effectively. The choreography for the smoke fight scene is especially impressive.

Screenwriter Jason Fuchs (“Wonder Woman”) pokes fun at the spy genre and its tropes, therefore the movie doesn’t take itself too seriously. The cast appears to be having fun with their roles, deftly delivering witty and memorable lines.

Come for the fun, stay for its unpredictability. And do not miss the extra scene at the end, for it nicely sets up a sequel, which I hope happens. This is the kind of enjoyable mainstream movie that engages for a few hours on a winter’s day, providing a few good laughs along the way!

“Argylle” is a 2024 action-thriller directed by Matthew Vaughn and starring Henry Cavill, Bryce Dallas Howard, Sam Rockwell, Bryan Cranston, John Cena, Ariana DeBose, Dua Lipa, Samuel L. Jackson, Sofia Boutella, Richard E. Grant, Rob Delaney and Catherine O’Hara. It is Rated PG-13 for strong violence and action and some strong language and the run-time is 2 hours, 19 minutes. It opens Feb. 2 in local theatres. Stephe’s Grade: C+

Unexpected, Unpredictable ‘Barbie’ Is An Irresistible Pop o’ Culture

Unexpected, Unpredictable ‘Barbie’ Is An Irresistible Pop o’ Culture

By Lynn Venhaus

Far from plastic and without a whiff of cynicism, “Barbie” is a cherry lemonade-frosted cupcake made with the best ingredients, no artificial sweeteners, and sprinkled with Mom love. It tickled me pink.

For our hero’s journey, Barbie must leave her comfort zone, the female-fantastic Barbie Land, to discover the perils of the Real World, where men rule, and she questions her existence.

Savvy writer-director Greta Gerwig has crafted an irresistible fantasy-comedy vision narrated by Helen Mirren, featuring Kate McKinnon as the outcast Weird Barbie, Ryan Gosling projecting “Kenergy” while wearing a floor-length white faux fur coat, and Lizzo singing a spirited “Pink” wake-up tune.

Whatever emotions a Barbie doll has evoked in your lifetime, this inventive live-action movie will bring them all out because of its sincere heart. While a delectable confection, there are multi-layers to digest, making it a surprising thought-provoking piece for our time.

On the one hand, with its frothy cotton-candy-colored façade and breezy beach vibe, “Barbie” is a joyous ode to childhood make-believe and a sentimental nostalgia trip for those who grew up playing with the style-setter. (However, this movie is not for kids, so scratch your plans for a mother-daughter bonding experience if they are under 12).

Brimming with great gags and vibrant visuals, it’s a dizzying pop o’ culture and universality. Through a smart, clever, and funny script co-written by Gerwig and the father of her two children, accomplished filmmaker Noah Baumbach, it is also self-aware and pokes fun at the Barbie ideal and how that has evolved over the years.

Most importantly, though, it is a matter-of-fact look at women’s treatment in society, pushing for more female empowerment while it points out inequalities and unrealistic beauty images. So, whether you love or hate Mattel’s global fashion icon, the takeaways are plentiful.

That’s because all the elements come together to celebrate girl power, while also taking a closer look at a toy’s story and what it reflects about us. Case in point — Issa Rae plays the President, and only female justices are on the Supreme Court in blissful Barbie Land while America Ferrara is a harried working mom in the Real World that tells it like it is in a monologue worthy of break-out applause.

Two-time Oscar nominee Gerwig, who grew up playing with Barbies, wants everyone to have their cake and eat it too. That’s why it is playful, but then addresses how it is a powerful yet polarizing corporation’s merchandise, at once adored by consumers but also decried by detractors.

With Warner Brothers’ studio’s extensive marketing campaign in high gear this summer, the world’s most famous doll, born in 1959, is ubiquitous – and both the filmmakers and filmgoers have embraced this journey.

Margot Robbie as Barbie

Gerwig, an inspired storyteller and enthusiastic film fan, includes nods to such whimsical influences as “Pee-wee’s Big Adventure” and “The Wizard of Oz,” and the colorful aesthetics of the Golden Age of Hollywood musicals and Jacques Demy’s unorthodox “The Umbrellas of Cherbourg.”

And of course, she references “Grease” and “Saturday Night Fever” in group numbers and tempo. The catchy centerpiece “Dance the Night Way,” sung by Dua Lipa, also a Barbie, is produced by hitmaker Mark Ronson – although cut short when Barbie’s bubble bursts. 

The kicky escapist pop soundtrack includes the sampling of “Barbie Girl,” the 1997 Aqua song, in Nicki Minaj and Ice Spice’s “Barbie World,” along with HAIM’s “Home,” Sam Smith’s “Man I Am,” Tame Impala’s “Journey to the Real World,” Billie Eilish’s “What Was I Made For?” and yes, Gosling’s ‘90s boy-band ballad “I’m Just Ken.”

Must also mention the Indigo Girls song from 1989 “Closer to Fine” that becomes a singalong!

A nod to inventor Ruth Handler is lovely, with Rhea Perlman as the Jewish businesswoman (and Mattel’s first president) having tea with her creation. “Humans have only one ending. Ideas live forever,” Ruth tells Barbie.

The pink paradise that is Barbie Land is a wonder to behold, an imaginative playground where girls of all sizes rule. They are independent, successful Nobel Prize winners, Olympic athletes, astronauts, and doctors, living in custom Barbie Dream Houses and changing lives.

The most upbeat is Stereotypical Barbie, and as the blonde bachelorette beauty, Margot Robbie is splendid, with that megawatt smile of hers, radiating star quality. A two-time Oscar nominee (“Bombshell” and “I, Tonya”), she also produced the film.

Her self-sufficient character is no bimbo and certainly not in anyone’s shadow, least of all Ken, who is fine focusing on Barbie’s happiness.

When she discovers – gasp – that men rule the world, and Ken becomes enamored with the patriarchy, thirsting for the power associated with being in charge, not to mention hanging with his macho-cool bros –  it becomes a rocky road.

Fortunately, the toxic masculinity fueled Kendom is short-lived, and the divine disco dancing dude returns as his supportive self.

Ryan Gosling

Two-time Oscar nominee Gosling is flat-out hilarious and an all-in team player as the golden boy. While known for his brooding performances in “Blade Runner 2049,” “Drive” and “The Ides of March,” he has proven how funny he can be in two stints hosting “Saturday Night Live” (must-see sketches are “Close Encounters” in 2015 and “Papyrus” five years ago) and shown his prowess for singing and dance in “La La Land” and his Mouseketeer roots on “The All New Mickey Mouse Club.”

Robbie’s Barbie is not the only girl in town – and the casting is faultless. Emerald Fennell, who won an Oscar for her original screenplay “Promising Young Woman,” is seen briefly as the pregnant Midge, Barbie’s best pal that was discontinued in 2002.

McKinnon is a hoot as the embodiment of the doll who was played with a little too rough, one that had her hair chopped off and her face scribbled with magic markers. She’s become the sage, and makes Barbie select either a stiletto heel or a Birkenstock sandal, a riff on her path as “The Matrix” red or blue pill choice.

And Michael Cera steals the whole show as Allan, Ken’s friend — “I can wear the same clothes.” Marvel guys Simu Liu and Kingsley Ben-Adir are good sports as other Beach Kens. John Cena as Mermaid Ken? Yes, please.

The innovative sunny, sparkly production design by six-time Oscar nominee Sarah Greenwood is a work of art, aided by her frequent collaborator Katie Spencer as set decorator, as is the costume designs by two-time Oscar winner Jacqueline Durran, who worked with Gerwig on “Little Women.”

“Barbie” gets so much right that it’s unfortunate that the filmmakers don’t seem to know how to properly end it, appearing to run out of gas on that golden stretch of Pacific Coast Highway.

Nevertheless, any film that encourages self-expression is to be saluted.

As a first-generation Barbie owner (my mom gave me the ‘Picnic Set’ Barbie with the fishing pole, wearing jeans, for my 6th birthday in 1960), the gift was aspirational, for I could dream of adventures and a glamorous life of achievements when I grew up.

And that spirit lifts this entertaining film into a magical ‘make your own kind of music’ anthem whose time has come.

“Barbie” is a 2023 comedy-fantasy directed by Greta Gerwig and starring Margot Robbie, Ryan Gosling, Michael Cera, Issa Rae, Kate McKinnon, America Ferrara, Simu Liu, Alexandra Shipp, Kingsley Ben-Adir, Will Ferrell and Rhea Perlman. It is rated PG-13 for suggestive references and brief language, and the runtime is 1 hour, 54 minutes. It opens in theaters July 21. Lynn’s Grade: B+.

Note: this review was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the movie being covered here wouldn’t exist.