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    New Spin for Spy Genre

    Kingsman: The Secret Service invigorates even if it goes overboard

    Alex Bentley
    Feb 13, 2015 | 12:00 am
    Kingsman: The Secret Service invigorates even if it goes overboard
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    The spy genre can always take a bit of reinvention. James Bond has gone through multiple iterations over the past 50 years, Tom Cruise brought Ethan Hunt into the modern age and Jason Bourne has proven to be a great addition despite being based on an older book.

    Now comes Kingsman: The Secret Service, a film that’s both old-fashioned and fresh at the same time. Based loosely on a 2012 comic book series, it centers on an agency of highly trained yet highly refined spies who pride themselves not only on their fighting skills, but also on their appearances. Each wears a bespoke suit, has a stylish pair of glasses outfitted with secret camera and carries an umbrella that turns into a nice bulletproof barrier should the need arise.

    The properness of the Kingsman on the surface belies the brutal nature of the film overall.

    Harry Hart (Colin Firth), one of the Kingsman leaders, recruits the hooligan-ish Eggsy (Taron Egerton) to join the group after another member has an unsavory demise. At the same time, tech billionaire Valentine (Samuel L. Jackson) sets in motion a dastardly plan that will affect the entire world, with only the Kingsman standing in his way.

    Written and directed by Matthew Vaughn (Kick-Ass, X-Men: First Class) and co-written by his screenwriting partner Jane Goldman, the film keeps you on edge with unexpected twists despite the familiarity of the base story. The properness of the Kingsman on the surface also belies the brutal nature of the film overall.

    Just as he did in Kick-Ass, Vaughn uses a kinetic style to give a real intensity to the action scenes. He’s also fond of graphic violence, leading to a variety of creative impalings and other vicious acts. Most of these sequences hit the mark, but there are times when the underlying seriousness of the film creeps in to disrupt the fun.

    Valentine’s plan is utterly hideous, and one scene puts the audience in a particularly awkward position. In order to test his plan, he targets a church in Kentucky known for their hatefulness.

    However, in the context of the film, we don’t know them at all, and it’s difficult to work up the necessary enmity to say they deserve what he inflicts upon them. Vaughn stages the scene as if it’s supposed to be entertaining, but the bloodfest that ensues feels utterly wrong.

    For the rest of the film, though, it’s easier to get into the rhythm of what they’re trying to do; Firth and Egerton each brings a certain charm. Some may question Firth’s ability to be an action star, but his smooth, confident demeanor makes up for a lack of physicality. The unknown Egerton makes a great first impression as Eggsy, undergoing an Eliza Doolittle-ish transition from thug to spy.

    Jackson has a blast in the villain role, even if he adds a superfluous lisp that serves more to annoy than enhance. Familiar faces like Michael Caine, Mark Strong and Mark Hamill round out the impressive cast.

    Kingsman: The Secret Service makes for a great addition to the spy genre even if it goes a little overboard at times. With a clever yet familiar premise, it’s easy to see it becoming the newest franchise in an industry chock-full of them.

    Samuel L. Jackson makes for an effective, if slightly annoying, villain in Kingsman: The Secret Service.

    Taron Egerton, Colin Firth and Samuel L. Jackson in Kingsman: The Secret Service
    Photo courtesy of 20th Century Fox
    Samuel L. Jackson makes for an effective, if slightly annoying, villain in Kingsman: The Secret Service.
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    Movie review

    Over-the-top The Bride! makes other Frankenstein movies seem subtle

    Alex Bentley
    Mar 6, 2026 | 12:15 pm
    Christian Bale and Jessie Buckley in The Bride!
    Photo by Niko Tavernise
    Christian Bale and Jessie Buckley in The Bride!.

    The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

    Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

    After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

    It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

    One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

    Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

    Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

    Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

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    The Bride! is now playing in theaters.

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