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 United States. These two elite secret organizations must band together to defeat a common enemy.
Foul-mouthed mutant mercenary Wade Wilson (AKA. Deadpool), brings together a team of fellow mutant rogues to protect a young boy with supernatural abilities from the brutal, time-traveling cyborg, Cable.
Armed with a super-suit with the astonishing ability to shrink in scale but increase in strength, cat burglar Scott Lang must embrace his inner hero and help his mentor, Dr. Hank Pym, plan and pull off a heist that will save the world.
As Scott Lang balances being both a Super Hero and a father, Hope van Dyne and Dr. Hank Pym present an urgent new mission that finds the Ant-Man fighting alongside The Wasp to uncover secrets from their past.
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
Berry Brothers & Rudd is a real place in London, UK and was the location of the Texas Embassy for three years in the 1840s. There is a plaque marking the spot. See more »
Eggsy, at the end during the wedding, wears a Blues uniform that has red tabs, the prerogative of a colonel or higher. Yet he wears the rank of a Lt. See more »
[Harry hits Poppy's robot attack dog Jet with a bowling ball while Elton is in the way, preventing it from attacking, as it is programmed not to harm Elton]
Fuck you, Poppy! Fuck you, Poppy!
[watching from her iPad]
Fuck you, Elton!
Kill... Elton John.
See more »
There is a statement in the closing credits: "A dope thanks to Samuel L. Jackson." Jackson had played Richmond Valentine in the previous Kingsman film. See more »
In Singapore, before the film could receive an NC16 classification the film was edited in order to remove two utterances of religious profanity which was deemed to exceeded the BFC's set Classification Guidelines. Under these Classification Guidelines, "language that denigrates religion or is religiously profane" is not allowed for all ratings. See more »
Written by Elton John & Bernie Taupin (as Bernard Taupin)
Published by Universal/Dick James Music Ltd.
Performed by Elton John
Courtesy of Virgin EMI Records Ltd.
Under license from Universal Music Operations Ltd. 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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