When their headquarters are destroyed and the world is held hostage, the Kingsman's journey leads them to the discovery of an allied spy organization in the US. These two elite secret organizations must band together to defeat a common enemy.
When the network of satellites designed to control the global climate starts to attack Earth, it's a race against the clock to uncover the real threat before a worldwide Geostorm wipes out everything and everyone.
When Tony Stark and Bruce Banner try to jump-start a dormant peacekeeping program called Ultron, things go horribly wrong and it's up to Earth's mightiest heroes to stop the villainous Ultron from enacting his terrible plan.
Robert Downey Jr.,
After the Kingsman headquarters are blown up by a psychotic criminal named Poppy Adams, the surviving agents find their way to an allied secret organisation based in Kentucky, named Statesman. The two agencies must now work together in order to save the world and take down the so called 'Golden Circle'. Written by
Matthew Vaughn summarized the role of Poppy as "Martha Stewart on crack... a kooky, sweet, Stepford Wives-style villain that, at the same time, is lethal and crazy and intelligent". See more »
While ski lift accident sequence happens, after the two track ropes and single hauling rope snap this would cause the second cabin which should have been speeding up to the mountain station, also roll down on the track cables towards lower station but eventually would be stopped by the emergency brakes. The movie ignores the factual existence of the second cabin, thus making the scene technically unrealistic. See more »
Manners... maketh... man. Let me translate that for you.
See more »
The "Take Me Home, Country Road" musical theme is heard over the opening logo. This foreshadows the song being used at a pivotal moment in the film. See more »
Written by Danny McNamara (as Daniel McNamara) & Richard McNamara
Published by EMI Music Publishing Ltd
Performed by Embrace
Courtesy of Independiente Limited
Under exclusive license to AWAL Digital Limited / Atlantic Recording Corp.
By arrangement with Warner Music Group Film & TV Licensing See more »
It feels like the fifth film in a franchise struggling to maintain it's relevancy, not like the follow-up to what was perhaps the most promising new property in Hollywood.
It's essentially all a big joke played on those who took umbrage at the few select sexualised moments from the final act of the first film, a joke whereby everything is consistently ramped up to eleven regardless of its negative impact on the story in a standoffish move meant to further separate the apparent 'critics' from the so-called 'fans', a move that only successfully provides both categories with a much worse experience, because while I and many other 'fans' didn't mind (or at least excused) the passive, clearly satirical crude jests and occasional absurdity of the original picture, we certainly didn't want a follow-up based entirely around what would obviously be considered the weakest aspects of the piece - elements which were only mitigated by the joyous fun found in the brilliance of the other parts such as the subtle yet witty satire and the very well developed characters, pieces of the puzzle now missing; though it is at times passively entertaining, what we're left with is a fairly by-the-numbers 'save-the-world' plot and a string of odd action set- pieces seemingly incompetently put together, with abhorrent use of rampant speed- ramping making it literally look like someone hit the fast-forward button and haphazardly stitched-together short takes that are supposed to make some sequences look like one fluid shot but instead make them look like cheap cartoons - in his quest to ignore the naysayers, Vaughn disappointingly squanders all of the good-will he had built with his predecessor and bizarrely wipes the slate clean relatively early on, wasting time setting up a less interesting new set of characters instead of working with the better characters already expertly established at the end of the prior title, while also reintroducing a previously dead character (seen in the trailers), after making him an amnesiac no less, in a move that should be reserved only for a waning franchise at least five films in that's struggling to maintain it's relevancy, not for what was once perhaps the most promising new property in Hollywood. 6/10
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