In regards to the newer MGM James
Bond films, many reviewers have complained
that the series has gotten too
serious, too dour.

Even after the release of “Skyfall,”
the most well-received Bond film in
decades, reviewers were calling for the
spy genre to take its foot off the gritty
pedal and remember its roots: its
jetpack, laser-watch, snappy one-liner
roots. For anyone who agrees with
these sentiments, the new film “Kingsman:
The Secret Service” should be at
the very top of your to-watch list.

Directed by Matthew Vaughn (“Layer
Cake,” “Kick-Ass”), “Kingsman” is
an England-set throwback to the spy
genre of the 1960s. Though it takes
place in modern day and employs modern
technology as an important plot element,
the feel of “Kingsman” is rooted
deeply in the nostalgia of the 60s.

The film stars newcomer Taron
Egerton as Eggsy, a troubled young
man and the son of a secret agent who
belongs to a private spy agency separate
from government control or regulation
called the Kingsman.

Eggsy becomes the protégé of another
Kingsman named Harry Hart,
played superbly by Colin Firth (“The
King’s Speech”), and undergoes training
along with a handful of other potential
candidates all vying for the
chance to become an agent themselves.

The cast is rounded out by Mark
Strong (“Kick-Ass”), Michael Caine
(“The Dark Knight”) and Samuel L.
Jackson (too many options).

The latter serves as the film’s main
villain, one Mr. Valentine, an immensely
wealthy and environmentally
concerned individual who hatches a
diabolical plot to incite a “cull” on the
human race to reduce the population
and help save the planet. Like any
good Bond villain, Valentine is distinguished
by a unique physical abnormality,
his being a comical lisp.

Although its comedic elements
make the film oftentimes laugh-outloud
funny and a joy to watch, where
“Kingsman” really shines is in its action
sequences. And seeing as this is
the director of “Kick-Ass” we’re talking
about, that’s no surprise.

But director Matthew Vaughn outdoes
himself here. The fight scenes
in “Kingsman” are incredible. Some
of the best action I’ve seen in a very
long time. The church fight (yes, I said
church fight) is the bloodiest, boldest,
and funniest scene since the shootout
in the third act of “Django Unchained.”
It’s an ambitious and effective mix
of intense choreography, CGI, Steadicam,
and constant gunfire. Your jaw
will be on the floor.

What also makes “Kingsman” great
is its loyal attachment to the source
material which inspired it. From bullet-
proof suits and lethal umbrellas to
lighter grenades and poisonous pens,
Kingsman agents are supplied with
enough handy (if ludicrous) gadgets to
impress even Desmond Llewellyn’s Q
in the Bond films. But it is also “Kingsman’s”
self-awareness that sets it
apart.

At one point Colin Firth’s character
remarks that today’s spy films are no
fun, and later, Samuel L. Jackson’s
Valentine comments that it’s the part
of the film where he’s supposed to unveil
his grand plan and kill a character
in some elaborate manner. “But,”
Valentine says, “this ain’t that kind of
movie.”

And he’s right. It’s not that kind of
movie at all. Truth be told, I’m hardpressed
to describe just what kind of
movie “Kingsman” is. Other than a really
good one, that is.