The number of filmmakers working today that can command a budget over $200 million for a completely original project is dwindling, as Hollywood continues to invest a majority of its resources in rebooting and continuing longstanding franchises. While directors likeChristopher NolanandJordan Peelehave become brands in themselves thanks to their signature original stories,Matthew Vaughnhas surprisingly joined this exclusive list. While he paid his dues by directing installments in established sagas, Vaughn has managed to inspire significant resources for his wild new espionage adventure filmArgylle. While it’s arguably the most ambitious film of his career,the soft box office responsesuggests that audiences may not have taken toArgyllein the way that Vaughn was hoping.Argylle’s critical and commercial failure suggests thatVaughn should return to his roots rather than trying to craft a mainstream hit.
An introverted spy novelist is drawn into the activities of a sinister underground syndicate.
‘Argylle’ Exposes Vaughn’s Flaws as a Filmmaker
Argylle’s primary flaw is thatVaughn is so determined to be “in on the joke” that he’s become indistinguishable from what he is lampooning. The film centers on the introverted novelist Elly Conway (Bryce Dallas Howard), whose work creating a fictional series of spy novels about the eponymous “Agent Argylle” (played in recreations byHenry Cavill) has made her a global sensation. While Elly’s life outside her books is rather dull, she’s forced to go on a real adventure when the secret agent Aidan (Sam Rockwell) explains that her books seem to be predicting reality. Elly and Aidan must work hand-in-hand to stop an enigmatic criminal organization from recovering a file containing sensitive information. While the premise seems simple enough,Vaughn can’t help but throw in multiple plot twiststhat stretch the film’s already ridiculous premise.
What’s unfortunate is thatArgylleis so focused on inverting its audiences’ expectations that it doesn’t have time to focus on the characters. When every character has a different idea, multiple organizations are vying for Elly’s loyalty, and the events of reality and her novels are indistinguishable,Argyllepacks in so much information that there’s barely room to breathe. Despite the strong chemistry between Rockwell and Howard, the characters Aidan and Kelly are barely given time to simply interact with each other given the film’s kinetic pacing. While there are sparks of energy whenever the two are simply having a conversation, it’s more often than not that these two talented performers are simply rambling off expositional dialogue, as themystery surrounding the “real Agent Argylle”overwhelms any individual character arcs.
Since the film demands so much attention on its plot alone,Vaughn’s subversive qualities feel like excess baggage in a film that has overstayed its welcome.Vaughn certainly has an aptitude for shooting action, and the film’s inventive final sequences indicate thatHoward has a strong future as an action star. Unfortunately, this humorous scene of Aidan and Elly dancing and skating as they take out bad guys is awkwardly inserted at a moment when the film should be wrapping up the emotional stakes of the story. While it would have been great if Vaughn brought this level of heightened absurdity to the entire film, it feels like he waited until the last minute to do anything interesting inArgylle.
Vaughn Works Best With Character-Focused Stories
While its ridiculous plot twists and shallow satire of the spy genre can be debated,Argylle’s greatest failing is its lack of emphasis on characterization. This is surprising, considering thatVaughn proved in his earlier films that he could launch up-and-coming actors thanks to his strong writing. Vaughn’s directorial debut,the blood-soaked gangster thrillerLayer Cake, is best known for introducing the world toDaniel Craigbefore he was cast as James Bond inCasino Royale. WhileLayer Cakeis just as kinetic and stylized asArgylle, it is compelling because Craig’s character serves as an appropriate audience avatar as Vaughn ventures into the intricate world of the London mob. It’s hard to form a similar connection with Elly because she always seems to be one plot twist ahead of the viewer.
While he certainly has a knack for dark comedy,Vaughn’s films work best when there’s a degree of sincerity. Vaughn’s adaptation of theNeil Gaimanfantasy adventureStardustis just as cheeky and self-aware of the fantasy genre asArgylleis within espionage films, but the focus never strays fromCharlie Cox’s Tristan andhis genuine affection for the fallen star Yvaine (Claire Danes). Similarly, whileX-Men: First Classdistinguished itself within the superhero franchise with Vaughn’s 1960s aesthetic, it ranks as one of the best installments in the series because of the depth granted to the relationship between Charles Xavier (James McAvoy) and Erik Lehnsherr (Michael Fassbender).
Pop culture references are a recurring element within Vaughn’s films, butArgyllesuffers from relying too heavily upon the audience’s knowledge of other espionage stories. While his 2010 superhero comedyKick-Asscertainly contained a lot of cheeky popular culture references, the homages to other characters serve a purpose in explainingwhy Dave Lizewski (Aaron Taylor-Johnson) is a unique hero. A reference that does not serve a larger purpose in advancing the story or plot is itself meaningless.
Vaughn Needs To Stop Teasing Sequels
While it’s impressive that he thinks so far in advance,Vaughn’s ambition to create franchises has distracted his attention. While 2015’sKingsman: The Secret Servicefelt like a breath of fresh air compared to other spy films, Vaughn’s continued attempts to expand the universe with prequels and sequelsled to the downfall of the series. It’s similarly hard to grow invested in his plans for anupcoming reboot of theKick-Assseries, as Vaughn has seemingly forgotten to just make one good movie first.
Hopefully, Vaughn will take the right lessons fromArgylle, asthe film does have its meritswhen it comes to inventive needle drops, ridiculous action sequences, and spot-on casting. However,Vaughn needs to put the story first and foremost if he wants his films to have any longevity. He’s a talented filmmaker who hopefully won’t be overwhelmed by the resources he has at his disposal.
Argylleis in theaters now.
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