in <em>The Old Guard </em>account on a supplement of soul and humanity which makes this a entertainment absolutely captivating, carried by a distribution impeccable with Charlize Theron as the figurehead.
July 9, 2020
Updated July 10, 2020 4h02
The Old Guard: the battle of the immortals for justice ***
CRITICAL / Not easy to propose the new with the old — especially a genre highly codified like that of the dramas of “superhero” inspired by a comic strip. But The Old Guard counts on a supplement of soul and humanity which makes this a entertainment absolutely captivating, carried by a distribution impeccable with Charlize Theron as the figurehead.
Hard to accuse Greg Rucka, who has adapted his book of the same name, we niaiser. From the first minutes, the viewer will have learned that the action was based on a quartet of immortals that book since the dawn of time, at least for Andromache (Theron), a fight for good and justice.
These stories usually play on the duality between the superhero audience forced to conceal her identity (Peter Parker / Spider-Man, Clark Kent / Superman, etc). Interesting variation here: the warriors absolutely want to remain anonymous (we’ll let you discover why). They don’t have costumes or super powers. Only skill is formidable in combat, developed over centuries. And their immortality, of course.
All of this may change when Andromache, Booker (Matthias Schoenaerts), Joe (Marwan Kenzari) and Nikki (Luca Marinelli) are discovering a new immortal, Nile (Kiki Layne), the first in over 200 years. Only problem, the Navy is “dead” in front of his teammates on the field, in Afghanistan.
She becomes a pariah within the unit and draws the attention of the authorities. And Merrick (Harry Melling), the leader of a big pharmaceutical that dream to extend human life, or even to suspend the course harmful. Our immortals must therefore recover Nile as quickly as possible. Of course, the mission is filled with obstacles, sown by Copley (Chiwetel Ejiofor), the right hand man of Merrick.
Gina Prince-Bythewood (Love & Basketball) may not avoid all the pitfalls that come with the genre, including the implausibilities, the table setting for suites and characters without nuances (especially the “villain” Merrick). And the fact that some of the scenes are extremely bloody and violent.
But you have to recognize a real talent for filming action sequences, well-cut and rhythmic, which avoid the overhead frenetic usual since a few years (where the fights take place so quickly that there is absolutely nothing).
The clash of martial arts between Andromache and Nile in the cargo-plane is a good example. It also serves as the turning point. After rebelled, the soldier accepts his condition and can start to make its bereavements (including her family that she can not see without putting his companions in danger). This will allow him also to become an apprentice with his mentor (the subject of the transmission).