In the high-octane world of action films, director Matthew Vaughn has carved out a distinctive niche, often fusing thrilling set pieces with a dash of stylish humor within captivating plots. His filmography has set a bar that makes any dip in quality a rather jarring affair for film enthusiasts. This sets the scene for the anticipation and subsequent letdown that “Argylle” delivers. Unlike Vaughn’s prior successes, “Argylle” presents an equation of his signature elements in what seems to be the wrong mix, amplifying the disappointment.
The story brings us to Elly Conway (played by Bryce Dallas Howard), an author basking in the glory of her recent publication about the fictional Agent Argylle, portrayed in hallucinations by Henry Cavill, sporting an unusual haircut reminiscent of a “Street Fighter” character. Reality and fiction blur when Elly meets Aidan (portrayed by Sam Rockwell), a self-proclaimed spy intent on protecting her from the very espionage organization she has fabricated for her readers. What unfolds is an adventure laden with a staggering number of foes that Aidan dispatches with almost mechanical precision, with the phantom of Agent Argylle making appearances in the midst of the chaos.
The pair’s thrilling escapades do merit attention, integrating dynamic action sequences that hit a peak of suspense, making audiences wonder which twist or turn will come next. At moments, the film seems to echo the essence of “Colossal,” a film where the protagonist’s actions inadvertently control a monstrous entity causing destruction.
“Argylle” starts bleeding momentum as soon as it attempts to address its own mysteries. Vaughn’s latest venture tries to marry the globe-trotting allure of James Bond features with self-referential satire indicating the often too-convenient plot outcomes of similar films. Despite assembling an impressive cast boasting names such as Henry Cavill, Bryan Cranston, Dua Lipa, John Cena, and Samuel L. Jackson, it resigns them to what amounts to glorified cameos. Promising characters are restrained to one dimension, unable to elevate the progressively worn-out wacky setup.
As the narrative strides into its second act, the suspense cultivated by Vaughn’s unique visual storytelling erodes under the revelation of lackluster twists and underdeveloped content. “Argylle” further teases connections to the “Kingsman” universe, generating interest in the prospect of a cross-franchise saga; however, it pales in comparison to the depth and entertainment value found within the Kingsman movies.
Despite “Argylle” ticking many boxes characteristic of a Vaughn production, the final product is fragmented, failing to piece together the seamless and engaging experience viewers have come to expect from the filmmaker. The attempt at humor often misses the mark, graphical effects leave much to be desired, and the spy film tropes seem recycled and stale. The narrative proves convoluted, and with a viewing time that tests patience, “Argylle” offers limited appeal to even the most die-hard of Vaughn’s fans.
Looking towards the future of possible franchise installments, the unresolved state of “Argylle” stands in stark contrast to the anticipation a new entry to the “Kingsman” series would generate. It serves as a reminder that despite all the ingredients being present, the success of a film recipe hinges on the balance and blend of its components. In the case of “Argylle,” this blend has resulted in a concoction that some may argue should have been left unbaked.
Currently in cinemas, “Argylle” serves as a case study in how even the most star-studded and potentially dynamic projects can falter, failing to coalesce into the action-packed masterpiece many hoped it would be.
Consider this a cautionary tale: Sometimes, the cover of a book—or in this case, a film—offers an accurate preview of the story within.
