Argylle

Argylle is a rollercoaster ride through a labyrinth of twisty developments so convoluted a bowl of spaghetti would have made a more intelligible script.

Elly Conway (Bryce Dallas Howard) is an author who finds herself unexpectedly thrown into a real-life espionage saga not unlilke the books she writes. Elly’s fictional novels feature dashing superspy Aubrey Argylle (Henry Cavill), flanked by cohorts Wyatt (John Cena) and tech specialist Keira (Ariana DeBose). Elly is shocked to discover her imaginary creations have turned eerily prophetic after a chance encounter with Aiden Wilde (Sam Rockwell) on a train ride.

That’s only the beginning. Elly’s path collides with a nefarious organization called The Division. The evil Director Ritter (Bryan Cranston) is out to acquire the master file, a MacGuffin they never bother to properly explain. Action-packed confrontations ensue as Elly and Aiden join forces to thwart Ritter’s schemes. Aiden’s employer, Alfred “Alfie” Solomon (Samuel L. Jackson), emerges to offer valuable insights into the unfolding chaos, while Elly’s mother, Ruth (Catherine O’Hara), offers additional support. And let’s not forget Elly’s loyal cat companion, Alfie, who accompanies her everywhere, snugly nestled in her bubble backpack. As Elly tries to make sense of what is happening, reality and fiction blend in ways only the screenwriter can comprehend.

Argylle is a whirlwind of chaos, a creation from the warped imagination of Matthew Vaughn. The filmmaker is known for The Kingsman movie franchise, and this picture is loosely tied to that universe. However, its foundation is the tangled invisible fishing line of a screenplay by Jason Fuchs. While another spoof of the spy genre is appealing, reminiscent of Paul Feig’s intelligent approach in Spy (2015), Argylle lacks the same grounding. Instead, it careens through a maze of narrative surprises that are both plentiful and absurd. One is left bewildered, struggling to discern who is good, who is bad, or follow anything that happens.

At its core, Argylle seems to be driven by a relentless desire to defy expectations at every juncture, resulting in a headache-inducing barrage of disjointed sequences. There are plot holes, unresolved story threads, and poorly defined personalities. The account’s refusal to offer a clear point of view or a coherent outline is a fatal flaw. It leaves the viewer unable to invest in the subject or its characters. Even the production’s reliance on CGI for locations and special effects looks hopelessly artificial, further distancing viewers from anything remotely plausible. In the end, Argylle is a less a compelling thriller and more of a haphazard collage of random ideas.

But I’ll end on a positive. It’s not a musical, but the action setpieces spotlight songs that underscore the fights. It’s a joy when “You’re the First, the Last, My Everything,” “Do Ya Wanna Funk,” and new song “Electric Energy” unpredictably pop up when people prepare to fight. The incongruous disco-infused soundtrack is easily the high point. The rest is sloppy filmmaking pitched at a frenetic pace. Unfortunately Argylle displays a pattern for frayed connections and loose ends.

02-08-24