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Movie Review

The Old Guard revs up the senses with great action and fascinating story

Alex Bentley
Jul 9, 2020 | 10:30 am
The Old Guard revs up the senses with great action and fascinating story
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It’s pretty difficult to come up with an original idea in this day and age. Most movies tend to repeat the same beats of those that have preceded them, changing up the details so the copying doesn’t seem too blatant. The new action movie The Old Guard has many familiar elements, but its unique story is where it stands out.

Charlize Theron stars as Andy, the leader of a group of mercenaries who have one defining quality: They are all immortal. Their immortality is unexplained, but the group – which also includes Booker (Matthias Schoenaerts), Joe (Marwen Kenzari), and Nicky (Luca Marinelli) – has used it to fight various battles over the course of many centuries.

Andy, the eldest, is starting to experience a dissatisfaction with their ability to actually solve any of the world’s ills. She’s both disheartened and reinvigorated when a new person, Nile (Kiki Layne) joins the group after being killed in action in Afghanistan. At the same time, they are being hunted down by Copley (Chiwetel Ejiofor), who works for Merrick (Harry Melling), the head of a secretive pharmaceutical group who wants to study and dissect them so their traits can be used to treat others.

Immortality is certainly not a new idea, nor is being an immortal mercenary, as Deadpool would gladly tell you. But there’s something about this multi-ethnic, female-led group that makes it supremely fascinating and entertaining. Directed by Gina Prince-Bythewood and written by Greg Rucka (who also wrote the graphic novel on which it is based), the film is more progressive than your typical comic book movie, even prominently including a same-sex relationship.

It is also ruthlessly bloody, whether it's the violent ways each member of the group is either killed or maimed multiple times, or in the brutality they unleash on others. There’s something balletic about the fight scenes, coordinated by Daniel Hernandez. The female fight scenes in Marvel movies have developed an expectation for such sequences, but Hernandez, the actors, and the stunt performers come up with a variety of different touches that make these impress every time.

If the story gets a bit wonky toward the end, Rucka and Prince-Bythewood can be forgiven as they’ve already delivered a great introduction to characters that most people don’t know. It looks like they’re aiming for franchise status – Rucka has written 10 issues, so there’s no lack of source material – and the end of the film sets up a possible sequel extremely well.

From Mad Max: Fury Road to Atomic Blonde to The Fast & the Furious series, Theron has established herself as a legit action star, and she doesn’t disappoint here. Combined with her top-notch acting skills, she is magnetic throughout. Layne, who was captivating in If Beale Street Could Talk, holds her own, carving out her own space in a film dominated by Theron. Schoenaerts, Kenzari, and Marinelli each get their own moments to shine, and Ejiofor makes the most of his limited time on screen.

The Old Guard brings something new to the table for the comic book action genre, popping off the screen despite being limited by its debut on Netflix. It’s equal to or better than many recent big screen action movies, with a lot more to say than most of them as well.

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The Old Guard will premiere on Netflix on July 10.

Charlize Theron in The Old Guard.

Charlize Theron in The Old Guard
Photo by Aimee Spinks/Netflix
Charlize Theron in The Old Guard.
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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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