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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.

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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

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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