'Mamma Mia! Here We Go Again' Review

Mamma Mia! Here We Go Again fluctuates between the lives of Donna circa 1979 and her daughter Sophie in the present day to intertwine two tales and show how relationships formed in the past resonate in the present. Determined to live out her mother's dream, Sophie prepares for the grand re-opening of her hotel the Bella Donna with the guidance of her mother's friends. As she becomes overwhelmed by the daunting tasks, Sophie learns more about Donna's past as she discovers how she ran the hotel, met each of Sophie's dads, and raised a baby all on her own.

Written and directed by Ol Parker, Mamma Mia! Here We Go Again is a prequel/sequel to the decade-old jukebox musical motion-picture, Mamma Mia!. Story writing credits go to Parker, Richard Curtis, and Catherine Johnson (a writer/producer on the first film), but I noticed Here We Go Again's storytelling structure seems to have been inspired by The Godfather Part II. The film cuts between timelines on a dime which occasionally allows for some creative transitions, but there were also several switches that were just jarring, unnecessary, and awkward in execution. This decision to split the screentime between these two storylines is an interesting one, but ultimately the fractured focus holds each narrative from reaching its full potential. The audience is then left with a half-baked musical memoir. 

I'm sure some of you are already upset that I'd dare critique the plot of a musical because "that's not the point," but I can rattle off plenty of marvelous movie musicals with both a quality story and incredible music. La La Land, Sing Street, Into The Woods, Les Misérables, Enchanted, West Side Story, Phantom of the Opera, Oliver!, Singing' in the Rain, The Sound of Music, The Wizard of Oz, and most Disney productions. I could go on, but I won't for the sake of length. I'm actually getting war flashbacks to December when I was unimpressed with The Greatest Showman and am already aware this will likely be a contested review as well, but I don't really care because I feel like I need to share my genuine opinion on things rather than conform to what others deem to be appropriate. There's not really a way around it... Mamma Mia! Here We Go Again is a lackluster sequel and mediocre musical in nearly every way imaginable.

As I've already addressed, the story's stretched thin by the decision to tell a story on two fronts. There's somehow even less of a plot holding this thing together than the first film, no regard for continuity, and some baffling choices were made as to how to best progress the series (I presume there will be an unnecessary third installment as well). While I certainly enjoyed the first two-thirds for the most part due to some energetic, entertaining musical numbers, the third act lost all momentum and dragged so much. It was only an hour and fifty four minutes, but towards the end I kept thinking to myself "when is this going to end?..." It seriously felt like I was watching a three hour film because the energy and sense of pacing completely disappeared. At that point, it was torturous to say the least... but I'll get to that momentarily... Just be patient and remember that this is coming from someone who LIKES musicals... 

One story element that was handled quite distastefully was Donna's trio of romantic entanglements. Here We Go Again was already put in a tough spot when it decided to depict this because the first film dictated that these encounters happened within quick succession of one another. Otherwise, Donna would have immediately known who Sophie's father was. However, Donna basically slept with each guy after a quick musical number and you didn't really buy the chemistry between the actors because everything happened so fast... Next thing you know, she's moved on. There didn't seem to be much effort being made to flesh out the relationships whatsoever. To me, it really painted Donna in a bad light and I wish I could have bought into the bonds being formed between Donna and the three men. 

If Here We Go Again got one thing right though, it was casting Lily James as a young Donna. Between this, Cinderella (2015), and Baby Driver, James has proven herself to be a captivating, charismatic screen presence and I'd love to see her as a female lead in more musicals. She has the looks, an exceptional singing voice, and a genuinely uplifting aura. She wound up being a great stand-in for Meryl Streep in a weird way as well, but more on that in a moment...

Alongside Lily as younger versions of characters from the first film are Jessica Keenan Wynn, Alexa Davies, Jeremy Irvine, Josh Dylan, and Hugh Skinner. They play young Tanya, Rosie, Sam, Bill, and Harry respectively, but each actor did an excellent job channeling the persona and mannerisms of the older actor while making the role their own.

Meanwhile, returning cast members Amanda Seyfried, Christine Baranski, Julie Walters, Pierce Brosnan, Stellan Skarsgård, Colin Firth, and Dominic Cooper do a swell job reprising their respective roles. None of them are really given any substantial material outside of Seyfried, but their presence definitely won't go unnoticed either.

You can't really write a review of a film which stars Meryl Streep without addressing her whatsoever, and I've gotta say she was is in like two scenes at most. There really wasn't much of a legitimate reason for her conspicuous absence either... The actress is still alive, so you think a film banking on her name would want to make the most of her, but they really wasted her to be completely honest. I'm guessing it was to keep the budget down because I presume she commands a big paycheck and they didn't want to pay her an unreasonable amount. 

I try not to be overly negative, but there's no polite way to get around the fact that Cher sounded god-awful in this. Like I'm pretty positive my ears got some form of cancer after listening to her... I was baffled at how such a beloved pop singer could sound so terrible. I guess it makes sense that she's basically a has-been now... To make matters worse, her role had absolutely no bearing on the plot and was clearly written with the intention of shoe-horning a cameo appearance for Cher. My entire family agreed that she sounded terrible, so it wasn't just me either. 

To put it simply, Here We Go Again is a disappointing follow-up to a feel-good musical. There are some bright spots, but not even more ABBA could save this thing from its sealed fate as an inferior sequel. I realize it's called Mamma Mia! Here We Go Again, but Mamma Mia! Let's Please Never Do This Again would have been a more fitting title. 

Film Assessment: C+

Throwback Thursday Review: 'Mamma Mia!'

Sorry for the slight delay, but I decided to share two Throwback Thursday Reviews this week since there are two major sequels being released this weekend. I've also decided to go ahead and share the post recapping my best and worst films of the year so far on Sunday regardless of whether I finish watching the films I missed out on or not. Later this weekend, you can expect my Throwback Thursday Review of The Equalizer as well as my reviews of Mamma Mia! Here We Go Again, The Equalizer 2, and You Were Never Really Here. Next week, I aim to review Teen Titans Go! To The Movies and complete my Mission: Impossible series of reviews with reviews for Mission: Impossible - Ghost Protocol, Mission: Impossible - Rogue Nation, and the upcoming Mission: Impossible - Fallout.

'Mamma Mia!' Review

Mamma Mia! follows an independent, single hotel owner in the Greek islands as she prepares for her daughter's wedding with the help of her two old friends. Meanwhile, the spirited bride-to-be secretly invites three men from her mother's past in hopes of finding her real father and having him escort her down the aisle on her big day.

Based on a 1999 stage musical, Mamma Mia! is a jukebox movie musical directed by Phyllinda Lloyd and written by Catherine Johnson which revolves almost entirely around songs from the renowned pop group ABBA. I'd previously seen bits and pieces of Mamma Mia! in passing (largely because my youngest sister is OBSESSED with it), but this was my first time to watch it from start-to-finish. As a fan of musicals, I went in hoping to at least be charmed by the renditions of ABBA's delightfully catchy show tunes, but that of course proved to be an inevitable outcome.

Given the irresistibly upbeat nature of their music, it's difficult not to be won over by this whimsical musical in a matter of minutes. It's silly for sure, but in an endearing way. There's a peppiness that permeates from the ensemble and their insatiable delight at the opportunity to groove to ABBA. On that note, it's remarkable how coherent the plot turned out when you consider that it essentially just stitched several ABBA songs together to tell a story.

With that being said, it's an interesting premise that runs out of steam from a narrative perspective. The mystery of which man is Sophie's father is quite compelling, but that gets thrown out the window towards the end and my interest began to wane as a result. At that point, the music is no longer driven by the story and all the song-and-dance numbers turn into surface level celebration. It may be pure, harmless fun, but it suddenly becomes devoid of any substance.  

Otherwise, the lighting was wildly inconsistent between shots and it drove me absolutely insane... I wish Lloyd and her cinematographer Haris Zambarloukos had simply settled on a constant aesthetic. I will however concede that the choreography was flashy and well-done, the island made for an effective luscious backdrop, and the ADR and sound mix were fairly decent. The singing from the cast also wasn't half-bad either, ranging from mediocre-to-pretty good. 

The all-star ensemble amassed are really the film's saving grace though. Meryl Streep and Amanda Seyfried sell their mother-daughter dynamic and are able to service the script as best they can. Christine Baranski and Julie Walters are scene stealers as Donna's homegirls while Dominic Cooper is stuck on the sidelines as Sophie's choice fiancé.

Lastly, Pierce Brosnan, Colin Firth, and Stellan Skarsgård lend their respective personalities to Sophie's prospective fathers and are a hoot to watch. Brosnan was panned by critics for his singing abilities, but I actually don't think he was THAT bad... He at least matched pitch, so he was nowhere near being one of the worst singers I've ever heard or anything... His singing voice was just alright. Firth and Skarsgård both sung pretty well though. 

As far as feel-good musicals go, Mamma Mia! hits that sweet spot between being totally ridiculous and obnoxiously overbearing. Certainly not one of my favorite movie musicals, but a worthwhile watch nevertheless!

Film Assessment: B

'Kingsman: The Golden Circle' Review

I was surprised to see how divisive this movie wound up being (currently standing with a 51% Rotten Tomatoes score), so I'm going to have spoiler areas to discuss some specifics in more detail. There will be clear spoiler warnings to mark these as a means of forewarning those who've yet to watch Kingsman: The Golden Circle.

[This review was originally written in September 2017 and is now being published to coincide with the digital home media release. For an explanation of this, visit my Fall 2017 Important Update post.] 

Kingsman: The Golden Circle revolves around Eggsy approximately a year after the events of The Secret Service. When disaster strikes Kingsman headquarters in the form of an egomaniacal drug lord named Poppy, Eggsy and the remnants of Kingsman must align themselves with their American cousins in order to save the world once more. 

Matthew Vaughn circled back to write and direct the spy sequel, once again receiving some assistance in the screenplay department from Jane Goldman. Since The Golden Circle managed to wrangle together much of the same behind-the-camera talent from The Secret Service, I was hoping the sequel might be able to stand toe-to-toe with the fantastic first film. Unfortunately, that wasn't necessarily the case. Instead, I was quite shocked to see The Golden Circle face such a mostly-mixed critical reception. While I don't agree with the general consensus, I can certainly concede that The Golden Circle wasn't quite as great as The Secret Service.

However, I don't think a sequel succeeds simply by surpassing the original. While that is the ideal scenario, it's an uncommon occurrence. When I see an action-packed blockbuster sequel, I hope to to be entertained and I felt Kingsman: The Golden Circle flourished in that regard. I first saw the film in an early screening, as a part of my fall internship, and enjoyed it enough to then pay and see it a second time in IMAX opening weekend. Trust me when I say it doesn't happen too terribly often that I watch something more than once the same week of release. 

Any-who, on a technical level The Golden Circle is superbly shot, exceptionally edited, and the film moves at a fun, brisk pace. The one downfall is that the visual effects work in the CG-reliant action sequences aren't always up to snuff; but even at their worst, the effects are still sufficient and not too distracting. Meanwhile, Vaughn doubles down on his stylized sensibilities this time around, injecting a frenetic vitality into every second of action fueled by an upbeat soundtrack. Even though The Golden Circle's action sequences never quite measure up to the church massacre sequence from the first, the film has an exuberant opening car chase and the insanity goes full throttle from that point on with a bonkers buckaroo bar brawl, a spellbinding shootout, and an insane all-out assault to cap things off. 

One of the common complaints regarding The Golden Circle was that the sequel was too far-fetched. To those griping, I ask this "Did you not watch The Secret Service?" For me, absurdity has seemed to be the whole point of this franchise. The Secret Service kept itself in a relatively restricted reality that progressively loosened the confines of this fictional world till there no longer were any confines. At the start of The Golden Circle, the can of worms has already been opened as we'd seen the glorious church massacre and the hosts of exploding heads. It's difficult for me to imagine The Golden Circle would then regress backwards to sensible surroundings, especially when you take into account that this franchise is inspired by classic Bond, with this installment tipping its cap to Roger Moore in particular.

So yes, this film gets absurd at times and I think that's perfectly okay. I'm not expecting a movie about international spies to remain grounded from start-to-finish, especially since the franchise is based off a comic book. In the case of Kingsman, I excuse the ridiculousness because I'm invested in the characters and the action commanded my attention. In regards to the story itself, Vaughn and Goldman do a swell job tying up loose threads from the first, advancing the plot, and simultaneously laying the groundwork for promising possibilities later on down the road. Vaughn and Goldman make an interesting addition to the world of Kingsman in the form of the Statesman. The American spin on the Kingsman agency allow for plenty of laughs and are an interesting expansion on the global intelligence community, but the plot does sometimes suffer from their inclusion.

While I think Vaughn and Goldman succeeded in progressing with a fun, outlandish spy venture, The Golden Circle does sometimes suffer from feeling too formulaic at times. This is largely because the villain is another eccentric antagonist with a henchman who has a weaponized appendage and a plan involving the sale/distribution of some product that will spell doom for many. The parallels are then made abundantly clear by countless call-backs to the original. However, these references found a nice, natural niche in the narrative rather than coming across as forced. 

**Spoiler Warning**

In particular, I actually liked how Eggsy wound up in a committed relationship with Tilde, the Swedish princess from the first film. The relationship took me aback, because I didn't realize they'd be carrying forward with that plot point, but I like how it distances Eggsy from Bond. Where Bond typically moves on from his woman without a second thought, Eggsy's actually interested in forming and maintaining a romantic relationship. I found that to be a nice twist on the traditional gentleman spy archetype and was glad they incorporated it into the plot.

As for my problems, I wasn't a fan of the way Roxy quickly got one-offed and how it was just brushed over. I'm guessing this was done because Vaughn wanted to loop in the Statesman and bring back Harry, but I think they could have still made it work. It's not like many of the Statesman had much to do either, considering Channing Tatum, Jeff Bridges, and Halle Berry had relatively reduced roles in comparison to how the Statesman were being thrown around in the marketing for The Golden Circle. Who knows though? Roxy could turn out to have somehow miraculously survived in the next one! For the time being, I'm a bit bothered by it though...

When it comes to the return of Harry Hart, I found the explanation for his survival to be quite convenient. The Statesman just so happened to arrive right after he was shot in the face and have an "alpha gel" that was able to repair any damage. I suppose it works for the purposes of quickly explaining how he's alive, but I'm still not sure it was entirely necessary for his character to come back to begin with. I wasn't opposed to seeing him reappear per say, but I felt they could have dedicated his screen time towards some of the underutilized characters I just mentioned or at least come up with a better explanation for his return. Otherwise, I was happy enough to see him back in the mix.

I thought it was intriguing they took one of the top agents of Kingsman and subverted audience expectations by making him clumsy and unrefined after recovering from amnesia. On the subject of amnesia, I liked how it took time for Harry to recall everything as opposed to healing immediately. I think many people are wondering where the heck the whole butterfly thing came from, but the idea Harry's interested by butterflies is planted in the original. When Eggsy's visiting Harry's home, there are MANY butterflies decorating the wall so it's not like the lepidopterist subplot came out of nowhere. My one issue with his character though, was that he seemed to become a proficient agent again just before the third act without much explanation. If they hadn't devoted so much screen time to explaining his return and recovery, I probably wouldn't have been as bothered, but it just came across as sloppy, storytelling to me.

Another thing that bothered me was a subplot shoehorned into the story seemingly for the sake of ridiculing Donald Trump. It's not that I'm bothered by mockery of Trump, considering I see it on a daily basis all over social media, but I didn't feel the political agenda warranted its place in this movie. I'd understand if the entire plot had political undertones and it serviced the storyline, but that's not really the case and it just stood to bloat the film's running time. Although, I suppose Vaughn felt he had to make it up to Democratic audiences for blowing up Obama's head in the last one. 

Then there's one scene that I'm sure will be controversial where Eggsy has to seduce a girl in order for them to locate Poppy and find a cure to the Blue Rash. It's rather risqué to say the least, but stands in accordance with one of the predecessors' contentious scenes, so I wasn't really bothered by it. One thing that's probably being overlooked in favor of viewing the moment as misogynistic is how it brought about a crisis of conscience for Eggsy. He wants to remain faithful to Tilde, but at the same time he knows he needs to plant this tracker to help save the world. Sure, it was unnecessary, but it did show some maturity on Eggsy's behalf and I liked that touch. 

**End of spoilers**

Among the ensemble, Taron Egerton once again channels a suave, charming sensibility into Eggsy that enables him to stand his ground opposite established talent. Egerton imbues Eggsy with such confidence and charisma that you can't help but be drawn towards the character. Alongside Egerton, Mark Strong turns in a prime performance as Merlin. Strong manages to elicit lots of laughs thanks to commendable comedic timing and even strings out some heartfelt emotional beats I didn't see coming. Meanwhile, Colin Firth puts his all into resurrecting Harry Hart by breathing new life into the character with a surprisingly layered performance. There's not much I can say without spoiling the film, so if you're wondering what all I thought of his return; watch the film and come back to check out the spoiler section above! 

Now for the woefully underutilized Statesman... Halle Berry, Channing Tatum, and Jeff Bridges are all billed as being a big part of The Golden Circle. They're on ALL the posters and trailers relating to The Golden Circle, but sadly none of these actors are afforded much to do. They make a strong impression when onscreen, but simply don't factor into the story as much as I would have liked. Basically, don't expect to see these three actors onscreen for more than ten minutes total or you'll be woefully disappointed.

Thankfully, Pedro Pascal stands out apart from the crowd as Agent Whiskey. The Game of Thrones star does it again, putting forth a gruff, chiseled Southern charm that's simply satisfying to see. Pascal gets plenty of time in the limelight with a couple key action sequences that will knock your socks off, and his character is by-far the most developed of the Statesman agents, so it's only fitting that he lassoes his way towards standing being one of the top performers.

In the antagonistic department, neither Julianne Moore or Edward Holcroft were able to fill the void Samuel L. Jackson and Sofia Boutella left behind. Moore seems to have thoroughly enjoyed herself playing Poppy as an bozo baddie, but I don't think the script did her character any favors. Poppy's motivation aren't really relatable and she's not positioned to be particularly menacing in her own right whatsoever. Her right hand-henchman, the rejected Kingsman applicant Charlie, is portrayed by Holcroft once more, and while he makes for a serviceable servant of evil, he's rarely anything more than that. On the bright side, viewers may or may not be surprised to see Elton John pop up in The Golden Circle for an extended cameo appearance. Elton John's scenes had me dying of laughter and independently are more than worth the price of admission (or Blu-Ray in this case?).

Kingsman: The Golden Circle isn't perfect by any stretch of the imagination, but there was enough fun to outweigh its problems in my opinion. Kingsman: The Golden Circle may not be a golden follow-up, but it shouldn't be discounted as fool's gold, because The Golden Circle still shines as a delightful globe-trotting spy adventure in spite of its flaws! 

Film Assessment: B

Recollection Reflection Review: 'Kingsman: The Secret Service'

I'd just like to let all my readers know that normalcy is near for this blog. I hope to get caught up with all my Throwback Thursday Reviews as soon as possible, starting with that infamously delayed Inception review (it's now been nearly two and a half months)... Following up that review will be a Triple-R over Interstellar and Throwback Thursday Reviews for Stand By Me, The World's End, The Shining, the 1990 It miniseries, Batman (1989), Scott Pilgrim vs. the World, and Risky Business (1983). I'll be watching each before writing the review (as per usual) so it may take a while for me to get completely caught up, but I intend on doing so in the next few weeks. Most of these movies tied in to a recent release in some way, shape, or form, but I'll explain that in each respective review. Anyways, I'm looking back at Kingsman: The Secret Service to see how it's held-up since the sequel comes out this weekend and I can't currently release my thoughts on Kingsman: The Golden Circle (For an explanation, see Fall 2017 Important Update). 

'Kingsman: The Secret Service' Review

Recollection- 'Kingsman: The Secret Service' Review

Reflection- I can recall not having the highest of expectations for Kingsman: The Secret Service when it was released and being blown away upon leaving the theater. I went in hoping for an entertaining spy flick, and was surprised to see a rapturing R-rated spy flick worth the buzz that also happened to be one of the best action movies released that year. It's really rare for an action movie to unexpectedly knock your socks clean off (the most recent example I can even think of would have to be John Wick). I'll get into the nitty-gritty in a moment, but I genuinely think I find more to love about Kingsman: The Secret Service every time I sit down to watch it! I'm revisiting the film, because my first go at reviewing Kingsman: The Secret Service only skimmed the surface of my opinion. This review will include slight spoilers by the way, so you've now been warned and may now read at your own risk.

Review- Kingsman: The Secret Service accompanies Eggsy, a bright but troublesome delinquent, as he's selected to train alongside a host of expert youth competing for an available slot in an international intelligence agency known as the "Kingsman." The Kingsman are unlike most spy organizations because they don't tie themselves to any particular government or bureaucracy. They remain anonymous due to their public position as tailors and draw inspiration from the Knights of the Round Table, bequeathing each member with a designation matching one of the knights (ie. Lancelot, Galahad, Merlin). Meanwhile, a maniacal mastermind's sick schemes put the planet in peril.

Kingsman: The Secret Service is directed by Matthew Vaughn, who adapted Mark Millar and Dave Gibbons' comic book series into a feature length screenplay with the aid of Jane Goldman. If you follow my blog relatively regularly, you may be familiar with the phrase "style-over-substance" when I've discussed films like Atomic Blonde, King Arthur: Legend of the Sword, or just about any live-action Transformers movie. Well oddly enough, Kingsman: The Secret Service is actually the ideal union of the two. Vaughn's stylized action sequences service the story, and vice-versa. This is a franchise that's unapologetically out-there as being a racy, outlandish take on Bond and it's bloody brilliant. 

One of the things I love about Kingsman: The Secret Service is that it's a film with no boundaries. Vaughn's never afraid to push the envelope with something too risqué, and the film never feel quartered to mandate a specific MPAA rating. The celebrated "Free Bird" church massacre sequence is the perfect representation of this. That set piece is absolutely nuts and dared to leap far beyond any preconceived ethical notions, where other filmmakers would have just walked as far away from that line as possible. As the film progresses,Vaughn ratchets up the insanity somehow manages to make the most perverse plot-points enjoyable to watch. 

Kingsman: The Secret Service literally blew people's minds. The film dared to detonate the actual head of America's head of state at the time of release for goodness sakes! The only other place you'd find something that bold and committal would be in some political propaganda piece! I still laugh out loud watching this sequence because of it's paired perfectly with Edgar Elgar's "Pomp and Circumstance." 

On top of all that, the script is sharp with an audacious edge. Vaughn and Goldman's screenplay verges on a sense of self-awareness when the spy and villain are in a room together discussing their situation's similarity to the classic spy movies. At its heart, Kingsman: The Secret Service is a love letter of-sorts to the Bond films of the past. Vaughn and Goldman pay respect to tropes of the genre with a wink and a nod, while also providing a fresh spin on it all. Kingsman: The Secret Service doesn't simply relish in the past, but manages to pave a way forward that keeps with the times. 

In other departments, the visual effects hold up quite well under scrutiny, the costuming and production design suit the lavish sense of style associated with the gentleman spy, and Henry Jackman's score interjects a suave, sophisticated sound that surprisingly works wonders coupled with the assortment of catchy tunes compiled on the soundtrack.

As for the cast, Taron Egerton still astounds me to this day with his take on Eggsy. Egerton exhibits all the makings of a modern movie star with charisma aplenty and a rugged exterior to match, enabling him to share scenes with the more experienced actors and match them line-for-line. Sophie Cookson also makes an impressionable breakout as Roxy, accentuating a resourcefulness and determination that allows her to come across as a convincing friend/rival to Eggsy. Meanwhile, classically trained actors including Colin Firth, Mark Strong, and Michael Caine weigh in on the fun and each have their own time to shine as Harry Hart, Merlin, and Arthur. Firth, in particular, goes above-and-beyond as another aged action hero that steals the limelight whenever he engages in fisticuffs. 

Elsewhere, Samuel L. Jackson was clearly having the time of his life playing such an eccentric, unconventional antagonist. Jackson wrings out ample personalty from Valentine's minor character traits and projects an egotistic charisma that's larger-than-life and totally befitting of the character. Sofia Boutella also manages to stand out among the stacked cast as Gazelle, Valentine's lethal hench-woman with weaponized powerbocks for legs. Boutella imbues Gazelle with enough menace to make the character more memorable than most hench-man have any right to be. 

When it's all said-and-done, I admire Kingsman: The Secret Service most for transcending the genre and adapting a light-hearted spy affair relevant to today when so many spy movies these days take the darker route. It doesn't hurt that Vaughn's direction allows the sillier scenes to flourish and the cast put forth quality performances all around. To sum-it-up, Kingsman: The Secret Service is funny, endearing, and most importantly incredibly entertaining. What more could you want from a spy action-adventure flick?

Film Assessment: A+

'Kingsman: The Secret Service' Review

I decided to go see Kingsman: The Secret Service today and I loved it! The film has great acting, amazing action scenes, some humor, and an interesting story. The stand-outs among the actors were Colin Firth, Taron Egerton, Samuel L. Jackson, Michael Caine, and there was a cameo which I won't spoil in this review.  Colin Firth has some great enjoyable scenes and proves that he could star in more action franchises with the amazing fight choreography action scene, one in particular which was done in one take that was very impressive. Samuel L. Jackson portrays a very interesting villain who has charm and is a little insane. Michael Caine is a supporting character who doesn't have too many scenes but I enjoyed his acting. I was most impressed however with newcomer Taron Egerton who managed to hold his own against A-list actors like Firth, Caine, and Jackson as well as performing some fun action scenes and stunts. If Marvel is indeed recasting Spider-Man, I think Egerton would be great for the role after seeing him in this film. The action scenes were incredible to watch and some of the best action scenes I have seen in any recent films. Overall, a great film that I hope spawns a new franchise for Hollywood. I highly recommend you see this film if you like action movies or spy films.