The King's Man -- the third film in the Kingsman series -- is a prequel set decades before the previous two films. The film has an interesting task. It needs to take one of the most dramatically dour periods in human history and transform it into an energetic action film. Directed by series veteran Matthew Vaughn, the campy elements of the movie work fairly well. However, the film is most surprising when it explores moral complexities before shifting back to its madcap action. Even though the film is overstuffed plot-wise, it's still compelling.
The King's Man beings right around the time of World War I. Orlando Oxford (Ralph Finnes) and his son, Conrad (Harris Dickinson), are noblemen, living a privileged (if sheltered) life following the death of Conrad's mother Emily (Alexandra Maria Lara). Although veteran Orlando has held fast to his pacifism, his attempts to keep Conrad safe only frustrate the young man. When a conspiracy hits, causing global conflict led by "the Shephard," Orlando and Conrad, along with their butler/quarter-master, Shola, (Djimon Hounsou) and nanny/spymaster, Polly (Gemma Arterton), become increasingly drawn into espionage.
The King's Man divides its time between being an openly cheesy action film and a time period piece. Ifan's Rasputin (Rhys Ifan) is a warrior who blends dancing into his fighting. Daniel Brühl, Valerie Pachner, and Todd Boyce also star as over-the-top recreations of historical figures to chew the scenery as hard as they can. Ifan, in particular, has a blast as the wild Rasputin. It's a gleefully over-the-top film, especially whenever the villainous cabal following the Shephard is on-screen. Vaughn and his entire team do wonderfully in these moments. The film's main Rasputin fight and a far tenser conflict on the battlefield speak to Vaughn's skills as an action director.
But the film also takes time to explore some surprisingly weighty questions about the pettiness of war and the limits of pacifism. At times, the film feels weighed down by too many conflicting ideologies rubbing up against wildly unrealistic historical figures. But the issues they bring up do resonate, thanks in part to the strong performances from both Finnes and Dickinson. Both adjust themselves well to the combat sequences, but their highlights in the film are smaller emotional beats that both actors absolutely knock out. The rest of the cast is knowingly aware of what kind of film they're in and are completely game -- with Arterton and Hounsou threading the line between funny, dramatic, and cool.
Since there's so much going on, The King's Man loses some of its potentially strong points. Polly and Shola are both good characters but lack the background to stand on their own. Characters like Rasputin are wonderfully utilized when they're on screen, but the sheer number of characters and moving parts means it's rare for the focus to spend too much time on anyone who isn't one of the Oxfords. The tonal whiplash can be jarring, especially as the film leaves the grim battlefields of World War I for more rollicking adventure in its third act. Some historical shifts are wild to the point of being outright distracting.
The King's Man's innate charms go a long way towards elevating even the film's confusing elements. The film is at once a period-piece/James Bond-style film and an engaging family drama about the cost and necessity of violence. The King's Man could have been a jumbled mess if the creators and cast of the film weren't so talented. Instead, in their hands, it's an endearing and exciting action film that fully embraces a cheesy aesthetic to explore a surprisingly nuanced approach to war. While it might enrage history buffs, The King's Man is a fun addition to the strong-running action franchise.