Kingsman: The Golden Circle (2017)

Erbland finds the sequel energetic and entertaining but ultimately overlong, convoluted blockbuster overkill. She praises its ambitious action set pieces and Julianne Moore’s gleeful performance, while criticizing a distasteful tracking-device scene.

McCarthy finds the sequel entertaining and mostly fresh, though it sometimes feels like too much of a good thing. He praises its clever, carefully crafted scenes and character-focused humor, while faulting its excessive running time.

Jolin finds the sequel entertaining but overlong, with less character development than its predecessor. He particularly praises the kinetic, inventive action sequences, while criticizing the drawn-out runtime and parts of the plot.

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The accessible page does not reveal the critic’s verdict. Its standfirst describes the film as a stylish secret-service sequel, but the review body is paywalled.

The review text is inaccessible, so its verdict cannot be established. No praise or complaint can be reliably identified.

The review gives the sequel a three-star assessment, suggesting a mixed verdict. It singles out Julianne Moore’s gleeful performance as the megalomaniac Poppy.

The critic finds the sequel exhilarating but overstuffed, with its excessive length and tone-deaf moments holding it back. They praise its visual wit and the gleefully absurd spectacle, including Elton John’s profane turn.

The critic finds the sequel entertaining but too safe to match the original’s edge. The energetic opening action and the cast’s charm stand out, while the familiar plot and lack of character arc disappoint.

O'Sullivan finds the sequel cruel, dull and far less daring than the original. She singles out Colin Firth’s performance and Elton John’s cameo as highlights.

The critic finds the sequel bloated, artistically impotent and politically conservative. They fault its glut of characters and subplots, singling out Channing Tatum’s cowboy as especially weak.

Smith finds the sequel inferior, despite a few bright moments. She singles out its increasingly crude humor as a prominent flaw.

Chang finds the sequel overlong, tonally undisciplined, and less anarchically entertaining than its predecessor. He praises the interplay among Firth, Strong, and Egerton, but says the film’s violent gags lack wit and finesse.

Debruge finds the sequel overblown, incoherent, and so unconcerned with stakes that its action feels weightless. He singles out Taron Egerton’s screen presence as a bright spot, while criticizing the film’s implausible plot and relentless excess.

Cole finds the sequel soulless and less effective than its predecessor. He criticizes its overloaded action, singling out Elton John’s wire-fu scene as its only inspired gag.

Miller dismisses the sequel as a witless, overlong failure. He particularly objects to its crude shock humor and rote ultraviolence.

Vishnevetsky finds the sequel dumber, less stylish, and politically incoherent, with clumsy plotting that drains away its fun. He singles out its class politics and overstuffed, boring stretches as particular failures.

Edelstein finds the sequel a bloated, stupid mess that fails to recapture the first film’s comic appeal. He praises Julianne Moore’s physical comic performance as Poppy, but says it grows repetitive.

Crow finds the sequel an entertaining, giddy romp, though its packed story can feel manic and unfocused. He especially praises Mark Strong’s standout scene and Julianne Moore’s spirited villainous performance.

Hammond says the sequel delivers the familiar Kingsman formula and should please fans, though it is overlong and bloated. He singles out its colorful production design, soundtrack, and fast-paced editing as strengths.

Han finds the sequel entertaining but less successful than the first film, with its political plot and self-seriousness undermining the fun. She praises Taron Egerton’s performance and highlights Harry’s recovery as the film’s strongest emotional thread.

The review finds the sequel entertaining and brazen, but less successful and less substantial than its predecessor. It praises Pedro Pascal’s charismatic agent and Elton John’s funny cameo, while lamenting the lack of an Eggsy character arc and potent class subtext.

Leitch finds the sequel bloated, overplotted, and less playful than the original. He singles out Elton John’s extended cameo as a highlight, while criticizing the film’s excessive plot machinery and crude subplot.

The critic finds the sequel hugely disappointing, despite flashes of brilliance. Julianne Moore’s performance as the villain is singled out for praise, while the repetitive, overblown story is criticized.

The critic finds the sequel entertaining but let down by shallow, predictable plotting and underdeveloped characters. The expertly choreographed action sequences are singled out for praise.

The critic finds the sequel overstuffed, tonally uneven, and too long to sustain its appeal. They praise Vaughn’s energetic, meticulously crafted action sequences as the film’s clearest strength.

Collins finds the sequel bloated and less enjoyable than the original. He praises the cast’s camaraderie but complains that the humor feels desperate and the action repetitive.

The critic finds the sequel meaner, less funny, and weighed down by a messy story and static exposition. Elton John is singled out as its saving grace, bringing welcome comic energy as a furious hostage.

The critic finds the sequel bloated, dull, and politically queasy, with little of the original’s charm. They single out Elton John’s profane hostage performance as the closest thing to humor.