About a third of the way through Matthew Vaughn’s latest film, Argylle, there’s a scene in which Catherine O’Hara, as Ruth Conway, talks on the phone with her daughter. The scene stands out not for any particulars of the performance but for the lighting. Until this moment, every scene has been lit like a pharmaceutical commercial: no moody shadows, no shades beyond the queasily bright. In this scene, however, as Ruth speaks with her daughter, there’s a rectangular block of light on her torso, blazing in from an unseen window. This blown-out bright spot wouldn’t matter if it weren’t the only moment in the film to have a bit of reality creeping in. Still, it stands out for seeming to be the only time something real is happening beyond the stifling construction of the film’s execution.Argylle is Vaughn’s latest candy-coated foray into the world of double-identities, double- and triple-crosses, spycraft, and general James Bondery, territory that he’s found ample material in — like a kid finding a forgotten Tonka in a sandbox — with the three Kingsman films that have trickled out of the past few years: The Secret Service (2014), The Golden Circle (2017), and The King’s Man (2021). With their share of ecstatic highs and direst of lows, this trio of films largely served as a remedy to the forlorn brutishness of Daniel Craig’s Bond films. Vaughn embraced the childish glee of remote bases, gimmick-based villains, and plenty of action (“Free Bird,” anyone?), which are envisioned with a contemporary lust for hyperviolence and executed with technical implementation that could not have occurred during Sean Connery’s seven-film turn as 007.Aside from the film’s questionable sense of literary merit and the narrow-minded conception of what an author actually does, Argylle happily plods along. Sometime later, Elly boards a train. She’s headed to her vacation home with cat Alfie in tow, who sits plain-faced within one of those backpacks with an observational bubble. A minor flirtation with a passerby later, Elly finds herself face-to-face with the scraggly Aidan (Sam Rockwell), who looks like anything but Henry Cavill. Despite appearances, Aidan tells Elly they’ll have to square off against a litany of adversaries in a few moments. Elly, understandably confused, finds herself in a situation like in her books!
About a third of the way through Matthew Vaughn’s latest film, Argylle, there’s a scene in which Catherine O’Hara, as Ruth Conway, talks on the phone with her daughter. The scene stands out not for any particulars of the performance but for the lighting. Until this moment, every scene has been lit like a pharmaceutical commercial: no moody shadows, no shades beyond the queasily bright. In this scene, however, as Ruth speaks with her daughter, there’s a rectangular block of light on her torso, blazing in from an unseen window. This blown-out bright spot wouldn’t matter if it weren’t the only moment in the film to have a bit of reality creeping in. Still, it stands out for seeming to be the only time something real is happening beyond the stifling construction of the film’s execution.
Argylle is Vaughn’s latest candy-coated foray into the world of double-identities, double- and triple-crosses, spycraft, and general James Bondery, territory that he’s found ample material in — like a kid finding a forgotten Tonka in a sandbox — with the three Kingsman films that have trickled out of the past few years: The Secret Service (2014), The Golden Circle (2017), and The King’s Man (2021). With their share of ecstatic highs and direst of lows, this trio of films largely served as a remedy to the forlorn brutishness of Daniel Craig’s Bond films. Vaughn embraced the childish glee of remote bases, gimmick-based villains, and plenty of action (“Free Bird,” anyone?), which are envisioned with a contemporary lust for hyperviolence and executed with technical implementation that could not have occurred during Sean Connery’s seven-film turn as 007.
Aside from the film’s questionable sense of literary merit and the narrow-minded conception of what an author actually does, Argylle happily plods along. Sometime later, Elly boards a train. She’s headed to her vacation home with cat Alfie in tow, who sits plain-faced within one of those backpacks with an observational bubble. A minor flirtation with a passerby later, Elly finds herself face-to-face with the scraggly Aidan (Sam Rockwell), who looks like anything but Henry Cavill. Despite appearances, Aidan tells Elly they’ll have to square off against a litany of adversaries in a few moments. Elly, understandably confused, finds herself in a situation like in her books!
#REVIEW #Argylle #Rotten #CandyColored #Core
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