Combat scenes are filmed so you can see who’s doing what, and edited together for maximum carnage and effect by Prince-Bythewood’s usual editor, Terilyn A. Though it contains more dramatic sequences than most superhero movies, “The Old Guard” doesn’t scrimp on the good, old-fashioned violence. These scenes force us to question the terror of being condemned to a lifetime of gruesome medical experiments simply because you cannot shuffle off this mortal coil.
So when the torture-filled middle portion kicks in, there is genuine concern for our heroes. There are numerous scenes where people just talk to each other, either to get exposition out of the way or to propel the story forward, and every time, we come away feeling as if we know these people. But he and Prince-Bythewood always support these familiarities with their actors’ ability to depict how strongly bound together their characters are. There’s the obvious exception to the immortality rule, an over-the top villain, the villain’s conflicted right hand man ( Chiwetel Ejiofor), a very sad backstory of torment for Andy, a betrayal, a climactic rescue mission, and even a scene that sets up the sequel. Writer Greg Rucka, who adapted the graphic novel he wrote with Leandro Fernandez, hits all the standard story beats of this genre. Joe’s response with a declaration of love as shamelessly florid as it is heartfelt, putting that paltry moment of LGBTQ representation in “ Avengers: Endgame” to shame. After they’ve been captured by minions of our villain, the evil pharmaceutical dudebro, Merrick ( Harry Melling), Joe’s concern for his fallen comrade is mocked with homophobic intent. They are lovers whose “Meet Cute” occurred when they were constantly killing each other during the Crusades. By virtue of their shared immortality, these men have been together for hundreds of years. Think about Noni on that balcony in “Beyond the Lights,” or Monica setting the terms of the climactic game in “Love and Basketball.” Here, the moment occurs between Andy’s teammates Nicolo ( Luca Marinelli) and Joe ( Marwan Kenzari). In addition to observing the humanity of its heroes, “The Old Guard” also employs Prince-Bythewood’s penchant for grandiose, melodramatic gestures that shouldn’t work at all yet play out masterfully. They are played by a variety of different races and it never once feels forced or pandering. What does feel intentional, however, is the inclusivity inherent in the depiction of the immortals, both in flashbacks and in its current timeline. With Nile’s braided, natural hairdo and Andy’s Karen-style coif, their battle plays like an unintentional and vengeful commentary on those angry “can I speak to a manager” videos plaguing social media. The two showcase their battle credentials while Andy offers gruesome examples of Nile’s ability to heal. Since “ Mad Max: Fury Road” cemented Theron’s ability to weld her Oscar-winning acting skills onto the bodies of fierce warriors who kick ass, “The Old Guard” treats us to a great, plane-bound fight between Nile and Andy. Until Nile showed up, Booker was the Guard’s youngest member, joining in 1812.
She is also plagued by nightmarish visions of other team members, a psychic link that, according to Booker ( Matthias Schoenaerts), only shuts down once they have all met. This squad of four is about to be joined by a fifth member, Nile ( KiKi Layne), a Marine stationed in Afghanistan whose slit throat suddenly heals itself.
The opening scene features a flash-forward to their bullet-ridden bodies a little later, we see them rising up fully healed after this slaughter, spitting out the bullets that have penetrated their faces as they mow down their opponents. Andy is the eldest member of an elite band of people who appear to be immortal.