“Argylle” Review: Matthew Vaughn’s Topsy-Turvy Spy Comedy Struggles to Stay Upright
After a decade of shaping the ‘Kingsman’ series, director Matthew Vaughn embarks on a new venture with “Argylle,” a film that infuses American flair (and a charming cat) into a perplexing narrative with a writer at its core.
Imagine a material that glistens like diamonds but, upon closer inspection, reveals itself to be nothing more than inexpensive polyester. This is an apt metaphor for Vaughn’s latest cinematic endeavor, “Argylle,” named after the distinctive diamond-patterned design frequently seen on socks and sweaters. Having spent the better part of ten years immersed in the world of “Kingsman,” Vaughn appears to have become a permanent resident of this exaggerated, cartoon-like universe, replete with its Gen Z James Bond overtones, disco beats, and extravagant greenscreen escapades.
“Argylle” introduces a fresh ensemble but remains true to Vaughn’s penchant for computer-generated extravagance. The plot centers around Elly Conway (portrayed by Bryce Dallas Howard), a writer of popular spy novels who finds herself entangled in a real-life spy plot eerily similar to her fictional creations. She writes about a character named Agent Argylle (played by Henry Cavill, who dons an over-the-top Nehru jacket and hairstyle), a spy who stumbles upon a clandestine group of rogue agents called the Division. The similarity between her fictional world and the film’s skewed reality is so uncanny that actual rogue agents emerge, intent on eliminating Elly.
While Jason Fuchs’ screenplay appears to borrow elements from adventure movies like “The Lost City” and “Romancing the Stone,” as well as spy parodies like “Hopscotch” and “Burn After Reading,” it still provides an entertaining framework for Vaughn to feature a female lead in a genre typically dominated by male protagonists. In the “Kingsman” series, women played roles, but the focus was predominantly male. “Argylle” changes this dynamic, with Howard, a “Jurassic World” alum and a product of nepotism, delivering a performance that feels authentic and relatable as the red-haired author who prefers the company of her Scottish Fold cat, Alfie, over any adventurous escapades.
The film kicks off with a flamboyant sequence from Elly’s latest Argylle book, set to Barry White’s “You’re the First, the Last, My Everything,” featuring appearances by Dua Lipa, Ariana DeBose, and John Cena. The scene is deliberately overdone, encouraging the audience to question its authenticity and find humor in the clumsy stereotypes being both employed and subverted. This book reading sets the stage for the movie’s narrative, with fans eagerly inquiring about the next installment, a question that even Elly cannot answer.
Elly, accompanied by Alfie in a cat backpack, travels to visit her mother (a delightfully funny Catherine O’Hara) and quickly realizes that almost every other train passenger is out to kill her. The only exception is Aidan (Sam Rockwell), a disheveled man who claims to be a spy and who single-handedly neutralizes the assassins on board. The film cleverly alternates between Elly’s and Aidan’s perspectives, leading viewers to wonder if this unkempt individual might be the inspiration for her suave literary character.
This segment concludes with a blatantly artificial parachute escape, starkly contrasting the authentic stunt work seen in recent “Mission: Impossible” films. “Argylle” fully embraces its artificial nature, consistently surprising viewers with new twists. One of the most notable involves Bryan Cranston, who initially appears as the villainous Ritter, head of the Division, only to later reemerge as an entirely different character.
Rockwell’s character, Aidan, shares an unlikely comedic dynamic with Howard’s Elly. Initially, Elly is apprehensive as Aidan takes down hordes of armed adversaries, but she soon warms up to him. The film’s attitude towards violence is in line with Vaughn’s style but less extreme than his previous works. “Argylle” is rated PG-13, avoiding the graphic violence of Vaughn’s R-rated films. The climax, a ludicrous figure-skating fight scene, distracts viewers with its outrageous choreography, making the minimal on-screen bloodshed seem almost inconsequential.
Vaughn aims to appeal to a younger audience without alienating his adult fan base. The film’s lengthy trailer offers a glimpse of what to expect, but it doesn’t fully prepare viewers for the experience of immersing themselves in Vaughn’s kitschy vision for an extended duration. “Argylle,” another lengthy Apple co-production, runs for over two hours, a trend that is becoming increasingly exhausting for audiences.
Despite initial resistance to its garish style, the movie eventually settles into a rhythm, particularly in a scene where Howard and Rockwell emerge from a bunker amidst a pink smokescreen, leaving a trail of heart-shaped sparks. Aidan, who at first seems an unlikely romantic interest, gradually becomes endearing, especially after he and Elly survive several life-threatening situations.
Elly starts the adventure as a classic damsel in distress but soon showcases her sharp intellect, honed through her successful writing career. The film acknowledges her capabilities, casting her as an action hero in her own right. However, she remains trapped in a poorly written spy comedy, complete with awkward one-liners and convoluted plot twists. The movie attempts to add context to the preceding events with a flashback during the end credits, but by then, the audience’s patience is likely to have been thoroughly tested.
In summary, “Argylle” is a chaotic blend of spy comedy and action, delivering a unique but sometimes jarring cinematic experience. While it showcases Vaughn’s distinctive style and offers some entertaining moments, the film struggles to maintain coherence and might leave viewers feeling somewhat disoriented by its over-the-top narrative and stylistic choices.