From 2011 onwards, director Matthew Vaughn’s directorial filmography would be defined by his love of the spy genre. With X-Men: First Class and his current trilogy of Kingsman movies, Vaughn particularly acknowledged the James Bond series for inspiration. Considering how Vaughn has always been breaking away from the conventions of whatever genre he tackles – for better or worse – he would not be an ideal fit within the parameters of the Bond franchise. It is unknown what plans Eon Productions have for 007, and while the Mission: Impossible series continues to be the most exciting spy blockbusters happening now, Vaughn has time for another. secret agent to once again go meta with the genre.
Like the opening of Robert Zemeckis’ Romancing the Stone, Argylle opens with the titular Agent Argylle (Henry Cavill) being cool and handsome during an over-the-top action sequence, despite rocking an appalling flat top haircut and a not-so-suave suit. Revealed to be the latest installment of the Argylle book series, as read by its author Elly Conway (Bryce Dallas Howard), she has plans to write the next one. However, upon suffering from writer’s block, Elly is saved from an ambush by an actual spy, Aidan (Sam Rockwell), who explains to her that a devious organization has targeted her because the books seemingly predict their future.
While the Bond influence continues to loom, not least of which casting Henry Cavill in a role that teases the recurring possibility of him being cast as 007, Vaughn has declared this film to be an ode to 80s action cinema, even if it never comes close to the spectacle of that era. Going back to Romancing the Stone, Argylle owes a debt to that film with great affection as the chemistry between Bryce Dallas Howard and Sam Rockwell is one of the few positive things I can say about this film. From Howard being perfectly cast as the reclusive author who finds herself thrown into one of her spy novels, to Rockwell who is having fun as the not-so-glamorous spy, and along with Elly’s cat Alfie being a cute third wheel, their performances could have redeemed Argylle.
In this current age when Fast & Furious has become self-aware in its outlandishness of spies and cars defying the laws of gravity, it still needs to find that balance of sincerity and ridiculousness. Argylle never finds that balance. For starters, Jason Fuchs’ script goes from one twist to the next every ten minutes and in between you get an action sequence that showcases the banter between Elly and Aidan; with a running time of 139 minutes, it starts to get repetitive. Although the film tries to do something interesting with the premise in how the editing shifts perspective between real-world and fictional characters, the amount of star power feels shallow, wasting the talent of John Cena and the Oscar-winning Ariana DeBose.
While this lacks the leeriness of the Kingsman movies, Matthew Vaughn still suffers from an overabundance of elements, not all of which come together. There may be some inventiveness with some of the action – though he should dial back on the slow-motion – Vaughn seems determined to subvert our expectations, as well as being on the joke that he is making a dumb spy actioner, and really should just embrace the conventions of the genre without trying to be clever-clever.
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