The Old Guard: a new and refreshing departure from tradition

SPOILERS AHEAD

The other day, I was in the mood to watch something enjoyable. I was fully prepared to reach for my copy of Inception and watch it for the tenth time, safe in the knowledge that I would love it. However, before I did so, I had a perfunctory scroll through Twitter, and came across a tweet praising a film called The Old Guard. The tweet mentioned that the film was based on a comic, and that the comic writer - Greg Rucka - had also written the screenplay for the film. That in itself intrigued me. I spoke briefly on this in my review of The Goldfinch, but it seems as though original creators are divorced from adaptations all too often. Thus, finding a project wherein the original creator is not only involved in the adaptation but has also given it his seal of approval, piqued my interest.

I decided not to watch any trailers or do any research before watching. I just loaded up Netflix, found the film, and went for it. This is not something that I am wont to do; I usually have to research a film first, watch some clips, and thoroughly ruin it for myself. But, I managed to restrain myself this time. And I am immeasurably glad that I did.

This film exceeded any expectation that I had for it - and then some. I was - and still am - surprised by how much I loved it. I'm going to struggle to be coherent throughout this review and not just shout at you all about how brilliant it is, and that you should go and watch it immediately. Which you should, by the way. There's going to be spoilers ahead, and if you haven't seen it yet I really do not want to ruin it for you.

The Old Guard is Netflix's recent big release, having come out on July 10th. Since then, it has already become one of Netflix's most successful releases ever. Within 12 days. It is based on the comic book series by Greg Rucka, which is beautifully illustrated by Leandro Fernandez. The film itself is directed by Gina Prince-Bythewood, and bills a stellar cast headed by Charlize Theron. It tells the story of a group of immortals who have secretly protected humanity for centuries. At this point in their lives, they are being targeted for their enhanced DNA while grappling with the discovery of a new immortal.

At first, the film seems as though it'll be a typical all-style-and-no-substance action, with one dimensional characters and little to no identifiable plot or development. This, however, is entirely not the case. 10 minutes or so into the film, when the team are heading on what they believe to be a hostage recovery in Sudan, we see that their weapons are not exactly standard. Nicky - also known as Nicolo di Genova - has a sword on his hip that is visible as he sits in the helicopter. It was at that moment, and with that shot, that I realised that I may have underestimated this film, and that I should really buckle up and get ready for what's to come. It has supernatural elements to it, but is not driven by them. It is well grounded and instead derives its story from the necessary humanity and moral dilemmas of its characters.

A handful of minutes later, and our group of protagonists find that they have walked into a trap. They've been set up by a contact - Copley, played by Chiwetel Ejiofor - and are subsequently annihilated by the enemy. When I say annihilated, I mean it. Full on riddled with bullets, covered in blood, they-really-won't-survive-this stuff. At this point, I was a little confused. They couldn't be dead already, could they?

Never fear - they're not dead. They're immortal, after all. Their bodies expel bullets and their wounds sew themselves shut in record time, as the group stand up and wreak havoc. What ensues is a fight scene that is representative of all others in the film; it is both cinematically and choreographically impressive. This film has some of the best choreographed fights I've seen in a long time; with seamless stunts and slick collaborative movements that show just how steadfast this team is. Not only that, but the cinematography and the way the scene is lit throws emphasis onto the fusion of archaic and modern weaponry; Nicky's sword and Andy's labrys utilised alongside and against gunfire. It is the perfect subliminal suggestion of the wealth of experience and years possessed by the team, and makes for a completely different style of combat.

Not long after, we are introduced to a totally badass all female US Marine squad, led by Nile Freeman. Nile is played by Kiki Layne in a manner that is effortless, beautifully poised, and totally human. That in itself is one of the defining traits of the film; it, and its characters, are overwhelmingly human. They are well developed, and they are flawed. They are complex and, in the case of Copley and Booker, are morally ambiguous in a way that is convincing and almost comprehensible. All of these characters are so cleverly constructed, and Nile is no exception. She is strong and fierce, and possesses a humanity that gives her another dimension. Not only that, but she is a young black woman at the centre of an action film; a character that is scarcely seen at the helm of a project such as this. She is everything you could possibly want in a lead, to be honest.

Nile is our newest immortal; she comes gasping back to life after her throat is slashed by a target. Her life becomes firmly entwined with that of Andy and the rest of the team, cemented when Andy comes to 'retrieve' her. Nile is totally relatable; she grapples with the idea of immortality and the guilt that comes with it. This isn't something she can just get over, either, and is present throughout the remainder of the film. She struggles with the concept while on a plane to Paris with Andy, wherein they have an expertly choreographed fight showcasing the best of our female leads. This is a film that really does spoil you with its characters and the actors portraying them.

Nile and Andy arrive at the safehouse; a church in a long-forgotten town outside Paris. It is there that Nile meets Joe, Nicky, and Booker, and learns more about what it means to be immortal. It is here that the premise of the entire film is explored a little further; a premise that could have been incredibly cheesy, but is instead handled extremely well and thus allowed to become a dynamic story. This is something that I feel the film does very well; it strikes the perfect balance of the required amount of cheesiness with a story that is thought-provoking and intriguing.

It is at the safehouse that we learn about Quynh, whose fate is utterly brutal and yet told so beautifully. Quynh was another immortal who was captured along with Andy in the 1800s, and put on trial for witchcraft. Her final punishment was to be locked in an iron coffin, and sent to the bottom of the ocean. That sounds like a horrific end for anyone - but it was not Quynh's end. Her immortality meant that she was destined to drown and revive at the bottom of the ocean for, at this point, over 200 years. She has yet to be found, and the image of her screaming inside her iron coffin is a harrowing one.

Quynh's story is followed by an attack on the church; one that separates Joe and Nicky from the rest of the team. It appears that the attack has been coordinated, once again, by Copley, in a move to capture the immortals for their DNA. Andy wastes no time in taking on their attackers single-handedly, in a feat almost reminiscent of Harry Hart's church massacre in Kingsman: The Secret Service. Similar to that scene, this one in The Old Guard is perfectly soundtracked, to the point where the sounds of the fight blend with the music. That is something that I personally love, and it worked extremely well with this scene. We see the true extent of Andy's strength and power here, a display that takes Nile aback when she sees the aftermath.

Meanwhile, Joe and Nicky are in an armoured van, presumably on their way to meet Copley and, by extension, Merrick. We are introduced briefly to Merrick earlier, who fulfils the stereotype of young genius well with his suit/hoodie/trainers combo. He is the CEO of a pharmaceutical company vowing to use immortal DNA to create medical cures. Of course, his motivations go far beyond that; a realisation that Copley has all too late.

Anyway, back to Joe and Nicky in the van. Greg Rucka's - the original comic writer and film screenwriter - contract stipulated that this scene from the comics be included in the film. It is in this scene that the relationship between Joe and Nicky is made explicit, through a poignant, heart-wrenching monologue from the former. The monologue itself is beautiful, and the delivery from Marwan Kenzari is even more so. Told in the wrong way these words could have been garish and cheesy, but they are instead beautiful and devastatingly romantic. The surrounding soldiers, who had joked about the possibility of a relationship between Joe and Nicky, look suitably chastised by his words; and so they should. Joe's words are indicative of the fact that LGBTQ+ relationships are worthy of respect; in reality and in media. They are worthy of far more than a throwaway inclusion to fulfil a quota, or for a cheap gag. The Old Guard succeeds in the way that it handles Joe and Nicky's relationship; their affection for one another goes beyond words, and is - Joe's monologue aside - shown rather than told.

We then find Andy, Nile, and Booker hiding out in a cave filled with Andy's belongings, many of which are historical and speak to her thousands of years on Earth. Andy herself disappears for a short while, grappling with her recent discovery that her own immortality has disappeared. This is an interesting twist in Andy's tale; we know, from her discussion of Lykon, that it is possible for one to stop being immortal. However, given her status in the film thus far, it didn't seem likely that it would happen to her. But it has, and Andy wrestles with this knowledge for the remainder of the film. This discovery adds another layer and dimension to her character; she is, already, well developed, but the overwhelming realisation of her own newfound mortality gives her a facet of humanity not dissimilar to Nile.

Meanwhile, Nile and Booker have their own discussion about the meaning of being immortal. We discover that Booker had a family - a wife and three sons - and he outlived all of them. There is a deep-rooted pain within Booker that is fully realised in this scene; a guilt born from the fact that his son died of cancer, while Booker himself would live on. His motivations for his actions - unbeknownst to us, at this point - become clearer with this knowledge. Both Booker and Copley are similarly morally ambiguous; they are not necessarily bad people, but they make bad decisions. These decisions come from a place of pain; pain for those they have lost, and a misguided belief that they can help make things right. They cannot - at least not in the ways they choose.

It is Copley that essentially hands Joe and Nicky over to Merrick, in the belief that Merrick's 'cure' will benefit society in the way that Copley's own wife could have benefitted. Copley's own situation and what happened to his wife - who died of ALS - is clearly what motivates him throughout the film. Thus, he is not necessarily a villain; only misguided in his attempts to help. This moral ambiguity and ethical greyness is what makes Copley - and Booker - a well rounded character with more dimension than one might expect from a film of this genre. He is clearly taken aback by Merrick's sadism and lust for money and power; all of which is displayed when he all but salivates over Joe and Nicky, especially when he attacks Joe with a knife and sees his wounds close up before his eyes.

While Joe and Nicky are subjected to experimentation in Merrick's lab, Nile, Booker, and Andy hatch a plan to confront Copley and retrieve their friends. Nile continues to struggle with the idea of immortality, especially when pertaining to the family that she will inevitably leave behind. Andy recognises this struggle within her, and gives Nile her blessing to leave as she and Booker go on to recover Joe and Nicky. And Nile does, until she realises Booker's betrayal and her humanity gets the better of her - once again.

In a twist that took me by surprise, it is revealed that Booker has betrayed the team; he was the one that essentially handed them over to Copley, who in turn handed them over to Merrick. He did so out of, as mentioned previously, the same misguided delusion that doing so would help; that doing so was for the benefit of the greater good. Oh, and he shoots Andy in the process of this revelation; an action that would have little consequence, had we not just discovered her waning immortality. This is a fact that is revealed to Booker in this scene, and he clearly struggles with an internal conflict as both he and Andy are hauled to the lab and reunited with Joe and Nicky.

Luckily for the team, Nile has returned. Sweet, wonderful, badass Nile, who confronts Copley and shows him that she is immortal by literally shooting herself in the foot. I'd cry if a bullet so much as grazed me, but these characters are stoic in the face of pain; self-inflicted and otherwise. Copley discloses his research to Nile; years of research that consolidate the work that the immortals have done, and the real world consequences of said work. The lives that they saved years prior have had knock on effects throughout generations. Copley is clearly no stranger to the benefit the immortals bring to the Earth, and in a surprise change of heart he helps Nile break into Merrick's facility to retrieve them.

What follows is a truly excellent scene - paired with another stroke of soundtracking genius - in which 'baby' Nile breaks into the lab to free her team. She handles herself well against the guards - of course she does, she was a US Marine - even while being shot at from all directions. Upon making it to the lab, Nile is privy to the discovery of Andy's mortality, and the team make a pact to protect her as they break out of the facility. The fight sequences that follow are beautifully choreographed and shot, with seamless, sleek trade offs that highlight the bond and synchronicity between the team. In one such sequence, a guard is passed from Nile, to Nicky, to Joe, with total poise, elegance, and ease.

Their escape is not all simple, however. The team are waylaid by a grenade, which separates them once again. Joe and Nicky are left to grapple with Keane, Merrick's head of security. This would usually be an easy fight for them, but they're disorientated by the blast and the ensuing smoke. Their lag allows for Keane to blast a shot through the back of Nicky's throat, killing him instantly. Normally, this would not be worrying; he's immortal, he'll wake up in less than a minute. But Joe's tension and anxiety is palpable, and it's easy to understand why. With the recent admission that Andy's immortality has left her, the reminder of the possibility is all too stark. Luckily, however, Nicky returns not a moment too soon, and the pair stumble off to reunite with the team, once again.

The final showdown in Merrick's penthouse sees the team utilise an old trick from 1834, displaying mastery of deception and the element of surprise. Joe takes Keane down in a smug display of protectiveness, and then it is down to Nile and Andy to dispose of Merrick. Andy wields an axe - intended for use in a fire escape situation - in moves reminiscent of those with her labrys, displaying her mastery of weaponry, whether archaic, modern, or anything in between. In a clever call back to the plane scene earlier in the film, Andy and Nile synchronise with the call to play dead in a sequence that culminates in Nile throwing herself and Merrick out of the window in a move that is equal parts terrifying and badass.

It's rather a long way down, so it's safe to say that Merrick doesn't survive that one.

Nile does, however, by virtue of her immortality, and the team walk out together as Andy promised they would. Now, there are two loose threads that demand tying: Copley and Booker. Booker is dealt with first; despite Joe's resentment towards him, he is given a hundred year exile, which is apparently lenient. Essentially, Booker will be on his own for the next century, and then he may reunite with the other immortals. He takes it well, but it is clear that the prospect of never seeing Andy again - due to her loss of immortality - is difficult for him. They have been together for the last few hundred years, after all. They've been a crutch for one another in their grief; Booker's for his family, Andy's for Quynh. Nonetheless, Booker's actions demand punishment, and he must accept that which he is given.

The final thread the team must tie is that of Copley. He is a useful contact for them, and Andy makes the decision to put him to good use. He is, after all, in full acknowledgement and appreciation of their skills, given the fact that he has monitored their actions and recognises the positive domino effect they have had. He is enlisted as a contact, as such, and Andy accepts the fact that this is their purpose. She has, throughout the film, hinted at disillusionment with their work. But meeting Nile has helped her to realise that this is where they can help, and help they must. There is hope left for humanity, encapsulated within and by Nile. Her presence helps Andy in more ways than one. Their relationship presents two female characters who are not in competition with one another, but rather help the other to grow and develop.

At this point, I was feeling more than a little emotional. Then I checked the time and saw that the film still had ten minutes left. Something more was coming, then.

That something was Quynh.

Quynh herself appears at Booker's apartment in a pre-credit scene that nicely anticipates a sequel. I haven't read the comics, so I'm not entirely sure where the story will go. I am, however, extremely excited to see more of these characters and this universe. Quynh is an intriguing addition to the sequel's plot, and I already have numerous theories as to what her actions will be and how they will affect Andy.

Ultimately, this film brought something fresh, new, and exciting to the table. I think much of that is virtue of the fact that it was directed by a woman. The Old Guard does not fall victim to the action movie tropes we see all too often these days; there are no thirst-traps, no gratuitous sex or nudity, no leering shots of female characters changing clothes, no lingering focus on ripped abs and bulging muscles. The characters are treated with respect and humanity and are allowed to be characters. They are allowed to have moral dilemmas, they are allowed to have struggles, they are given apt development and relationships. It is a film that tells its story effectively, balanced between fight scenes and quieter, intimate moments. Every fight sequence propels the story onwards, rather than being included for the sake of a big action set piece. The human moments - the discussions, the times we see the team for the found family that they are - are just as important and are treated with due respect and dignity. This film is proof of how good a project can be when everyone involved has a genuine love, admiration, and respect for the story they're telling. And, don't be put off by the fact that this film is based on a comic. It is so much more than what you might expect a 'comic-book film' to be. No offence to the MCU, but it could learn a lot from The Old Guard.

Believe me, I tried very hard to make this review coherent and hold back from just screaming at you all to watch this film. But, you should. Because I genuinely think it might be one of my favourites. I know, I know. It's far too soon to say such a thing, but I wouldn't say it if I didn't believe it.

I'm going to leave you with a quotation from Gina Prince-Bythewood that I love, and I feel really encapsulates much of the film's charm:

"Courage has no gender, badass has no gender, being a warrior has no gender."

Never forget that.