Skip to main content

REVIEW: The Old Guard



In a world overflowing with disaster and human atrocity, one can't help but wonder if there's enough time in one lifetime to combat all the world's calamities. That seems to be the fixation of Gina Prince-Bythewood's new action thriller, The Old Guard, which premiered on Netflix today. This film imagines a fantasy wherein a team of altruistic soldiers who cannot die dedicate their eternal existence to fighting such calamities. Neither mindless nor heartless, even in a slate of film releases not afflicted by a pandemic, this film would be a viable competitor for the honor of best action film of the year.



Actress KiKi Layne and director Gina Prince-Bythewood
The plot of the film is tightly structured with its many setups and payoffs so symphonically arranged. There are admittedly one or two sequences, like Andy's initial retrieval of Nile from her base camp, that feel a little rushed, especially in comparison to their fantastically realized encounter on the plane in the sequence after. One wonders if the film had been conceived with such sequences a little more developed only for them to be truncated in script streamlining.

The film boasts an impressive cast led by Charlize Theron and KiKi Layne, with Matthias Schoenaerts, Marwan Kenzari, Luca Marinelli, Chiwetel Ejiofor, and Harry Melling filling out the ensemble. There isn't a weak spot among the cast, though I'll confess that for all I tried I just couldn't stop seeing Dudley Dursely anytime Melling was on screen. Schoenarts, my personal favorite of this lineup, did an especially notable job at finding subtle ways to sell his character's humanity. 

The action sequences are expertly designed, reading like deadly dances. Narrative inventions manage to assign legitimate stakes to the action, such that even a cast of immortals feels vulnerable amid the rain of bullets.

People won't be complaining about any intellectual incuriosity with this action film (at least they
shouldn't) as often happens with movies so drenched in action. There isn't a plotpoint or scene that doesn't somehow tie back to the film's thematic lifeblood: when dying is off the table, what do you do with your time? Turns out even immortals are sometimes overwhelmed by the enormity of their task. When faced with the question of the futility of their mission, Andy (Charlize Theron) disdainfully remarks "The world can burn for all I care." Even amidst the frustration of it all, the film affords these freelance fighters a measure of compassion, allowing them to reflect and lament on issues like loneliness "Just because we keep living doesn't mean we stop hurting" while letting them discover (or rediscover) the sanctuary their family unit provides them. The film doesn't return its own questions with easy answers, but you still come out believing in good deeds anyway. 

With its careful interplay of unforgiving reality with obstinate idealism, the film creates an experience that is both thrilling and life-affirming. I guess action films don't need to make their viewers reflect on human goodness, but what can you do?
   
                --The Professor


Comments

Popular posts from this blog

REVIEW: WICKED - For Good

      I'm conflicted about how to approach this review. I know everyone has their own yellow brick road to the myth of The Wizard of Oz as a whole and the specific Broadway adaptation that brought us all here.   I don't want to write this only for others who are familiar with the source material.       Even so, I can't help but review this from the perspective of a fan of the Broadway show--someone who has been tracking the potential for a film adaptation since before Jon M. Chu's participation was announced for the ambitious undertaking of translating one of Broadway's most electric shows onto film. I can't help but view this from the vantage point of someone who knew just how many opportunities this had to go wrong.     And it's from that vantage point that I now profess such profound relief that the gambit paid off. We truly have the " Lord of the Rings of musicals ."  I'll give last year's movie the edge for having a slightly...

REVIEW: ZOOTOPIA 2

       Any follow-up to the 2016 masterpiece,  Zootopia , is going to be disadvantaged. Cinema was still a year ahead of Jordan Peele's "Get Out" when Disney released one of the most articulate explanations of race, allyship, and accountability ever put to film. Now that everyone knows how good, even "timely," a Disney pic can be, how do you surprise everyone a second time?      The insights in this sequel won't spur any new chapters in your sociology 101 textbook. Though honestly, neither was the deflection of white saviourship  that  novel back in 2016. We more or less knew how racial profiling and biases played out in the landscape. What surprised many of us (and validated the rest of us) was the idea that these ideas could be articulated so eloquently in a children's film.     It seems that the studio tried the same thing here with Zootopia 2 that it did with Frozen II six years ago. I think a lot of people wanted that m...

The Apartment: What Makes Us Human

Earlier this year, director of the Guardians of the Galaxy trilogy and this summer's Superman movie, James Gunn, attributed the chaos of modern Hollywood to one simple factor. Speaking with Rolling Stone, he said , “I do believe that the reason why the movie industry is dying is not because of people not wanting to see movies. It’s not because of home screens getting so good. The number one reason is because people are making movies without a finished screenplay.” Without the insider knowledge that a Hollywood director has, I’m still inclined to agree. While the artistic and corporative threads of filmmaking have always been in competition, watching many tentpole films of the last fifteen years or so has felt more analogous to a dentist appointment than anything I'd call entertainment, and I can almost always trace the problem to something that should have been taken care of before the cameras ever started rolling. Fantastic Beasts: The Secrets of Dumbledore (2022)  ...

REVIEW: Mufasa - The Lion King

    To get to the point, Disney's new origin story for The Lion King 's Mufasa fails at the ultimate directive of all prequels. By the end of the adventure, you don't actually feel like you know these guys any better.           Such  has been the curse for nearly Disney's live-action spin-offs/remakes of the 2010s on. Disney supposes it's enough to learn more facts or anecdotes about your favorite characters, but the interview has always been more intricate than all that. There is no catharsis nor identification for the audience during Mufasa's culminating moment of uniting the animals of The Pridelands because the momentum pushing us here has been carried by cliche, not archetype.      Director Barry Jenkins' not-so-secret weapon has always been his ability to derive pathos from lyrical imagery, and he does great things with the African landscape without stepping into literal fantasy. This is much more aesthetically interestin...

REVIEW: AVATAR - Fire and Ash

     The "Avatar" chapters have generally renewed their interest to the masses based on which exciting new locale and each new culture whichever film opts to explore.      Following that dance,  "Fire and Ash" introduces yet another Na'Vi clan, this one hailing from the scorched plains under the shadow of an erupted volcano. But their biome is decidedly less spectacular than the lush jungles of the Omaticaya or the rich coral reefs where the Metkayina dive. Between the ashen grounds of the volcano clan and the metallic fortress of the humans, this is comfortably the most monochromatic of the three Avatar films. And yet, Avatar: Fire and Ash is no less gripping for it.      And this is where the internet really starts to reckon with what us fans of the franchise have always kind of known: that the many screensavers offered by the Avatar world ... they have been  nice . But these films would have never made the impact they have if the...

Elemental: Savoring Pixar's Fading Light

I’ve only been doing this writing thing for a short while. But in that space, I have been surprised at many of the developments I’ve gotten to witness unfolding in the popular film landscape. It was only five years ago, for example, that superhero movies were still thought to be unstoppable. Here in 2025, though, we know better. But the wheels coming off the Marvel machine accompanied a shift in their whole method of production and distribution, and it didn’t take long for the natural consequences to catch up with them as verifiable issues started appearing in their films. Thor: Love and Thunder (2022) No. The development that has most surprised me has been critics and their slow-motion break-up with Pixar. The only way I know how to describe what I’ve seen over the last five years … imagine that your roommate has been stuck for a long time dating a girl who was obviously bad for him, and after he finally breaks up with her he gets back into the dating ring. All the girls he takes out ...

REVIEW: Wake Up Dead Man

     Last week when I reviewed WICKED: For Good , I mentioned that I couldn't help but analyze the film specifically from the lens of a lifelong fan of the Broadway phenomenon.       I find myself in a similar position here examining the new "Knives Out" movie and its meditation on faith and religion. I can't help but view the film through my own experiences as a practicing believer.       But first, some notes on the filmmaking itself.      The third installment in the Knives Out saga sees Benoit Blanc investigating the murder of a tyrannical priest, Monsignor Wicks, presiding over a smalltown flock. The prime suspect is none other than the young, idealistic Father Jud, the new priest who found Wicks' approach to spirituality repulsive and completely counter to Christ's teachings. Thus, this mystery is a contest between two representations of Christianity, each desperate to define the function of religion in the mod...

Fine, I Will Review The Percy Jackson Show

   The YA scene in the late 2000s and early 2010s was stuffed full of failed book-to-movie adaptations, desperate attempts to ride the Harry Potter train.  Percy Jackson and the Olympians: The Lightning Thief  was not the first book to receive this treatment. Yet it somehow became the most infamous.      We can speculate as to why it is that Percy Jackson never really exited the discourse the way properties like Eragon or Inkheart did. Perhaps it's because Rick Riordan continued to add to the lore with two follow-up sagas set in the same universe. (As of this writing, Riordan is preparing a whole additional Percy Jackson trilogy.) Perhaps it's because, while those other movie adaptations merely tried to replicate the Harry Potter effect , Percy Jackson admittedly borrowed generously from the Harry Potter story template. Whatever the reason, young millennials have never really been allowed to forget the crimes committed by FOX back in 2010 ...

An Earnest Defense of Passengers

          Recall with me, if you will, the scene in Hollywood December 2016. We were less than a year away from #MeToo, and the internet was keenly aware of Hollywood’s suffocating influence on women on and off screen but not yet sure what to do about it.       Enter Morten Tyldum’s film Passengers , a movie which, despite featuring the two hottest stars in Hollywood at the apex of their fame, was mangled by internet critics immediately after take-off. A key piece of Passengers ’ plot revolves around the main character, Jim Preston, a passenger onboard a spaceship, who prematurely awakens from a century-long hibernation and faces a lifetime of solitude adrift in outer space; rather than suffer through a life of loneliness, he eventually decides to deliberately awaken another passenger, Aurora Lane, condemning her to his same fate.    So this is obviously a film with a moral dilemma at its center. Morten Tyldum, director of...

Wicked vs Maleficent

  “Witch” has historically been used as a pejorative for a non-conformist woman, someone who does not obey the expectations of her culture. It’s little wonder, then, that a society with more progressive mores would commandeer the witch archetype into a warrior for social justice, or that the most famous witch of them all would spearhead this retyping.      Yes, I am thinking of a certain Broadway musical and a fiery, green-skinned, justice-bent rebel-rouser.  Wicked is a stage musical that follows the infamous Wicked Witch of the West as featured in the 1939 film The Wizard of Oz . By shedding light on what happened before Dorothy dropped into Oz, Wicked recasts the witch as not a villain, but a misunderstood heroine. The show has been defying gravity on Broadway for coming on twenty years now, and it’s showing no signs of slowing down.   When Disney’s Maleficen t came along a little over ten years later, the shorthand description of the film was basic...