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.
Baby is a young and partially hearing impaired getaway driver who can make any wild move while in motion with the right track playing. It's a critical talent he needs to survive his indentured servitude to the crime boss, Doc, who values his role in his meticulously planned robberies. However, just when Baby thinks he is finally free and clear to have his own life with his new girlfriend, Debora, Doc coerces him back for another job. Now saddled with a crew of thugs too violently unstable to keep to Doc's plans, Baby finds himself and everything he cares for in terrible danger. To survive and escape the coming maelstrom, it will take all of Baby's skill, wits and daring, but even on the best track, can he make it when life is forcing him to face the music?Written by
Kenneth Chisholm (firstname.lastname@example.org)
When Edgar Wright began writing the script, he only had ten songs to start with. The final film had thirty, according to the published playlist. The song Smokey Joe's La La was a very late replacement for the B. Bumble and the Stingers' Nut Rocker during post-production as after several test screenings Wright felt that "it started to get on his tits" that he re-shot part of that scene. Also, Easy by The Commodores was included after Ansel Elgort was cast as Wright found out during audition that it was one of the songs that Elgort knows very well and could sing / lip sync. That moment won him the title role. See more »
When the silver Ford Taurus is going into the crusher (after Baby is told to "sunset that ride"), just after the car is dropped into the crusher, the Taurus suddenly becomes a different car (the change is easily noticed by the different door handles), and in one shot, the engine appears to have been removed. See more »
Those pigs are in hog heaven. The only way they can ID us is with a Ouija board or some shit.
Well, your name only takes four letters to spell out.
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At the end of the credits is the sound of a tape rewinding. See more »
1. You can't force "clever." Something is either clever or it is not. This film is ambitious but not clever. If you want clever, done right, watch Lucky Number Sleven.
2. The romantic arc is weird, too convenient, not well developed and there is no chemistry.
3. To borrow a line from Kevin Spacey's dialog, you want the good news? The good news is that the romantic arc is not an issue because this film a much bigger issue. No audience connection. By the 60 minute minute I did not care about Baby, or his instant girlfriend, or Spacey, of anyone. OK, I actually did care about the little kid who played the nephew. He should have starred.
4. For those who care about dramatic structure, Fox's character is so top-heavy that he should be counter-point. But to who? Baby is so lightweight for most the movie that he cannot be counterpoint to Fox and Spacey at the same time.
Over-rated to a scary degree. No wonder no two people can agree on anything anymore.
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