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    Movie Review

    Female-centric Gunpowder Milkshake fizzles with story and action

    Alex Bentley
    Jul 14, 2021 | 10:39 am
    Female-centric Gunpowder Milkshake fizzles with story and action
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    If the past 20 years of movies have proven anything, it’s that plenty of women have shown the ability to carry an action film just as well as men can. They include Angelina Jolie, Jennifer Lawrence, Uma Thurman, Charlize Theron, Michelle Rodriguez, and Marvel stars like Zoe Saldana, Scarlett Johansson, and Karen Gillan, all of whom owe a debt of gratitude toward Sigourney Weaver and Linda Hamilton for paving the way.

    So it’s no surprise that another female-centric action movie, Gunpowder Milkshake, is being released, with one of those Marvel stars – Gillan – as the star. Gillan plays Sam, a contract killer who works for a shadowy group known simply as The Firm, which is led by Nathan (Paul Giamatti). It’s the same group her mom, Scarlet (Lena Headey), worked for before mysteriously disappearing 15 years earlier, leaving Sam to fend for herself as a teenager.

    Like all good contract killers, Sam doesn’t question her orders until one day she kills a man whom she discovers was simply trying to pay a ransom to get his daughter back. Soon, Sam finds herself trying to rescue that girl herself and retreating back to a safe house known as The Library to avoid repercussions. There, three “librarians” who are old friends of her mom – Madeleine (Carla Gugino), Anna May (Angela Bassett), and Florence (Michelle Yeoh) – are able to provide her with any gun she requires.

    Written and directed by Navot Papushado and co-written by Ehud Lavski, the film is like John Wick combined with Atomic Blonde and Hotel Artemis. It’s clear the filmmakers are going for a high degree of stylization, from the odd, nonsensical title to funky locales like a diner being used as a gang meeting place to the unconventional costume choices for many of the main characters. What they don’t seem to understand is that substance is equally as important as style.

    When you’re essentially a copycat of previous action movies, you need to show creativity with your fight scenes and shootouts. While there is some inventiveness to be had in the film, there is nothing that makes you stand up and go wow. In fact, the sequences are so uninspiring that it often feels like the actors are fighting on stage instead of for a movie.

    What makes the lackluster action worse is that Sam is given a generic collection of bad guys to go up against. Almost to a man, the actors playing villains engage in goofy, over-the-top acting, leaving no doubt as to the result of the fights and dulling the impact of the film overall. What might come off as fun in a better-made movie is instead inert, with everybody going through the paces so they can move along to the next uninteresting scene.

    Gillan, as she’s shown in the Guardians of the Galaxy and Jumanji movies, has a great presence to her that should work well in a role like this. But she, and every other well-known actor in the film, is undone by a story that doesn’t make any sense and action that is mostly lifeless.

    Women are not given a chance to lead action movies as often as they should, so when one like Gunpowder Milkshake underwhelms, it’s extra disappointing. The inexperienced filmmakers are unable to make good use of their actors’ talent, and instead of exploding, the action just fizzles away.

    ---

    Gunpowder Milkshake is now playing on Netflix. It is also showing in select theaters.

    Karen Gillan and Chloe Coleman in Gunpowder Milkshake.

    Karen Gillan and Chloe Coleman in Gunpowder Milkshake
    Photo by Reiner Bajo/Netflix
    Karen Gillan and Chloe Coleman in Gunpowder Milkshake.
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    Movie Review

    Alexander Skarsgård commands the bold, offbeat drama Pillion

    Alex Bentley
    Feb 20, 2026 | 11:45 am
    Alexander Skarsgård and Harry Melling in Pillion
    Photo courtesy of A24
    Alexander Skarsgård and Harry Melling in Pillion.

    Describing the new movie Pillion is almost an act of futility. It contains a variety of seemingly disparate parts that coalesce into a whole to make it utterly fascinating. Few other recent films have been able to walk the line between filthy and wholesome in quite the way this one does, and that’s only because few other filmmakers would actually dare to try.

    It centers on Colin (Harry Melling), a meek man in his mid-thirties who still lives at home with his parents, Pete (Douglas Hodge) and Peggy (Lesley Sharp), while working a dead-end job giving out parking tickets. While performing in a barbershop quartet at his local pub, Colin catches the eye of biker Ray (Alexander Skarsgård), who summons him for a clandestine hook-up the following day (which just so happens to be Christmas Day).

    With barely a word exchanged between them, Ray establishes a dominance over Colin that quickly leads to them starting a relationship in which Colin does anything Ray asks. And that means more than just sex: Colin, whether desperate for any kind of affection or unlocking a side of himself he hadn’t known, readily agrees to cook, clean, shop, and basically do whatever else Ray wants him to do.

    Written and directed by first-time feature filmmaker Harry Lighton, the film is astonishing in the way it’s able to mine humor from Colin and Ray’s atypical bond. To call Ray “unfeeling” might not be totally accurate, but the way he treats Colin borders on cruel. However, the way Lighton structures the film, it’s easy to understand why someone like Colin would be willing to go along with the situation. It’s both hilarious and heartbreaking to see Colin debase himself in a variety of ways.

    On the flip side is Colin’s heartfelt arc with his parents. It’s established right away that Peggy, who is sick with cancer, is a bit too involved with Colin’s love life, with the opening scene featuring her setting him up on a blind date. But their easy acceptance of his queerness and desire to see him find love is as heartwarming as it gets. The juxtaposition between the wholesomeness of their family and Colin’s new life is also the source of a good amount of comedy.

    Lighton does not shy away from the sexual side of Colin and Ray’s relationship, and the scenes he depicts are as graphic as you are likely to see in an R-rated film. Some go up to and a little past what might be expected in a mainstream movie (including the use of a certain fake appendage). Other times they play out in a comical way to illustrate just how far Colin has progressed from the person he was when the film started.

    Skarsgård, who stole the show in the Charli XCX movie The Moment, is the attraction in more ways than one in this film. The part calls for someone who’s not only impossibly handsome, but also a person who can stop dissent with just a glance, and he lives up to both qualities equally well. Melling, best known for playing Neville Longbottom in the Harry Potter movies, also embodies his role perfectly. He plays Colin as weak enough to be run roughshod over by Ray, but not so hopeless as to not be worth rooting for.

    Pillion (which is the name of the secondary seat on a motorcycle on which Colin rides multiple times in the film) operates at a storytelling level that is difficult to achieve. Many people will not fully understand the film’s central relationship, but the way it is showcased by Lighton makes it compelling, gut-wrenching, and sexy.

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    Pillion is now playing in theaters.

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