Argylle (2024)

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Matthew Vaughn has carved a niche in the film world with his playful homages to various genres, including 60s spy adventures and superhero flicks. He’s known for cheeky cinematic spoofs like the suave yet ridiculous “Kingsman” and the electrifying “Kick-Ass”. However, his latest venture, Argylle, diverges from Vaughn’s usual charm, leaning towards a convoluted plot that prioritizes twists over character development, bordering on becoming a parody of itself.

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Opening with a bang, Argylle plunges viewers into a world of dramatic action and cheesy dialogue reminiscent of classic Bond films. We meet the titular Agent Argylle (played by Henry Cavill), seemingly channeling his inner 007 as he effortlessly navigates explosions and delivers pithy one-liners. However, we soon realize that this over-the-top spectacle is the creation of Elly Conway (Bryce Dallas Howard), an introverted spy novelist whose best-selling “Argylle” novels blur the lines between fiction and reality. Elly’s quiet life is shattered when she encounters Aidan (Sam Rockwell), a real-life spy who thrusts her into a global conspiracy.

As Elly navigates the treacherous world of international espionage, the film bombards us nonstop with convoluted twists. With deception at every turn, forming attachments or becoming invested in the story becomes increasingly challenging. This focus on twists leaves talented actors like Catherine O’Hara and Bryan Cranston underutilized, with most of the star-studded cast relegated to glorified cameos. While Bryce Dallas Howard as Elly was well-suited to the role and portrayed the character proficiently, she seemed to struggle at times and felt a little out of her depth during the required moments of action. Similarly, Sam Rockwell, captivating as Aidan, initially brings his trademark charm to the role; however, it soon becomes tiresome, detracting from the overall impact of his performance.

Equally disappointing is Vaughn’s direction in Argylle, where his signature hyper-stylized action and vibrant style are glaringly absent, replaced by a heavy reliance on unconvincing green screen and awkward CGI. This visual language permeates the film, even draining the most mundane scenes of any life. The actors rarely seem to share physical space, resulting in flat, artificial interactions. The action sequences, in particular, suffer greatly, as supposedly creative moments are brutally undercut by the weightless and cartoonish nature of the surrounding CGI. Argylle feels like a pale imitation of Vaughn’s usual style, lacking the punch and energy that made classics like the “Kingsman” church fight so memorable.

As Argylle’s shortcomings become increasingly apparent, the third act descends into tediousness, feeling far longer than its runtime. Laborious action sequences, particularly in the latter half, devolve into predictable melodramatic clichés, forcing viewers to endure an unwanted front-row seat to the film’s overwrought moments. This relentless pacing drains the energy from the story, leaving even the final twists (and yes, there were even more twists!) feeling predictable and anti-climactic.

Ultimately, Argylle is a film that disappoints. Instead of the expected wit, thrills, and engaging characters that we’ve come to expect from the director’s films, we were given a convoluted mess. The action sequences, typically a highlight of Vaughn’s work, felt almost silly and lacked the impact and creativity that made his previous films memorable. As the credits rolled, I couldn’t shake off the feeling of disappointment and a sense of secondhand embarrassment. It’s a film that falls short of its promises and leaves a lingering sense of regret for the time spent watching it.