548 words, 3 minutes read time.
Matthew Vaughn’s latest venture, “Argylle,” offers a high-octane spy action comedy with a star-studded cast and a hefty $200 million budget. The film features original songs by Dua Lipa, who also makes her acting debut as Lagrange, a femme fatale and rival spy to Argyle. The film is based around Ellie Conway, a reclusive author who writes espionage novels about a secret agent and a global spy syndicate. The film follows Ellie as she realizes that the plot of her new book mirrors real-world events, and that she is actually a former spy whose memories were erased by a sinister organization.
Sadly it suffers from a convoluted plot, wasted potential of an ensemble cast, that includes Bryce Dallas Howard, Sam Rockwell, Bryan Cranston, Catherine O’Hara, Henry Cavill, Sofia Boutella, Dua Lipa, Ariana DeBose, John Cena, and Samuel L. Jackson, and a disturbing central feature of stylised violence. The film has received generally negative reviews from critics, with a score of 34% on Rotten Tomatoes and a rating of 4.5 out of 10 on IMDb .
Beneath the flashy cinematography, upbeat music, and performances lies a film that, for some viewers, may cross the line with its stylized violence.
The movie’s stylized violence is evident from the opening scene, where Henry Cavill’s Agent Argylle engages in a sultry dance and escapes under a hail of bullets. Subsequent scenes, including a train ambush, a car chase through the streets of London, and a snowy mountain finale, feature crunchy fistfights, gunfights, and the use of various weapons. It’s done as a weird dance of death with a romantic element. The violence, often presented in a choreographed manner with minimal blood and injury detail, takes on a comic tone, creating a stark contrast between the action and the overall tone of the film.
While stylized violence is a common feature in spy films, the scenes in “Argylle” may be particularly disturbing for some viewers. The film’s over-the-top action and stylized choreography, coupled with its convoluted plot, have drawn criticism from critics who argue that it falls short of the potential offered by its ensemble cast. The negative reviews highlight an unbearably self-satisfied and smug caper that struggles to balance absurdity with coherence and originality.
The use of stylized violence in “Argylle” raises concerns about potential desensitization, particularly given its exaggerated and theatrical nature. Scenes like the train ambush and the car chase, while visually striking, may contribute to a sense of normalization of violence, potentially impacting susceptible audiences, such as children and adolescents.
The film’s attempts to infuse humor and irreverence into the violence may not be enough to justify its negative critical reception. Some argue that the film’s absurdity and over-the-top action do little to compensate for its lack of fun, coherence, and originality, leaving audiences questioning the choices made in the production.
“Argylle” is a film that embraces stylized violence as a central element of its narrative, contributing to a high-energy and visually striking spectacle. However, the film’s approach to violence may be unsettling for some viewers, raising questions about its potential impact on desensitization and the normalization of violence, especially among more impressionable audiences. Additionally, the film’s plot is just too shallow and convoluted. The humour often falls flat.
Reviewed by Pat Harrington
Picture credit: By https://www.cinematerial.com/movies/argylle-i15009428/p/laqk5lhx, Fair use, https://en.wikipedia.org/w/index.php?curid=71214151
