Matthias Schoenaerts | ASSHOLES WATCHING MOVIES

Andy (Charlize Theron) is one weary warrior. She leads an elite team of mercenaries but when they’re called for a new job, she hesitates. She once believed they were doing ‘good’ but as she scans the news channels and her friends’ faces, she can no longer find any proof. The world isn’t getting any better. Is it even worth it? But client Copley (Chiwetel Ejiofor) is insistent: a bunch of young girls are being trafficked and only the very best team – her team – can save them. So Andy swallows her cynicism and leads Booker (Matthias Schoenaerts), Nicky (Luca Marinelli), and Joe (Marwan Kenzari) once more into battle. Except Andy’s instincts were right: it’s a trap.

Copley’s been secretly tracking her team all along, on behalf of “the youngest pharma CEO ever” (Harry Melling). Eager to make a splash, not to mention a billion dollars, he wants to study Andy and her team to see what make them so special – and to replicate it, of course. Because humans are both greedy and vain and we never, ever learn a lesson.

This could have been a fairly by the numbers action movie, even if the action is pretty impressive. Of course, it kind of has to be these days; John Wick went and raised the bar on that, and now even a fairly trash movie like Extraction needs some intensely choreographed and inventive sequences. And of course, somewhere along the way, Charlize Theron has become a bonafide action star. But what makes The Old Guard stand out from the rest is its philosophy, director Gina Prince-Bythewood’s instinct to slow things down and instead of asking ‘what’s next?’ asks ‘why?’

It’s hard to know whether to categorize The Old Guard as a sci-fi movie or a super hero movie or a straight up action adventure. But like Wonder Woman, a film easily among the best in any of those genres, this movie doesn’t just explore the extent of their so-called super powers, it wonders when to use them, why to use them, and if they should be used at all. If Andy’s Guard isn’t quite human, the people they fight, and the people the save, are. The cost is high and the price is grief; Andy’s body may be strong but so is the emotional toll. And when new Guard member Nile (Kiki Layne) is discovered, the whole group has to decide whether it’s all been worth it.

The Old Guard isn’t a perfect movie but it dares to depict heroics occurring somewhere between survival and sorrow. It shows us not just its true cost, but both the weighing of it, and its weight.

Paris, 1682: King Louis XIV wants the gardens of Versailles to equal the beauty and grandeur of his 700-room, 2000-window, 1250-fireplace, 67-staircases palace.

In the film, his master gardener Andre feels the task is too immense (and the King’s ambition too grand, too exact) and he hires help to get it all done. His choice for the architect of an elegant outdoor ballroom stuns all the applicants: it’s a woman, not very well known, not a member of court, Sabine.

Now, if you know me at all, you know all you had to say was Versailles. I would probably get all beheady if my hard-earned tax dollars funded the place, but it’s obscenely, richly, decadently wondrous to look at. But here’s the thing: this is a movie that just keeps on giving. If you aren’t immediately convinced by the setting, here are three names to make you fall down in a faint: Kate Winslet, Stanley Tucci, Alan Rickman.

Alan Rickman, who also directs, gets to wear the crown as King Louis. Tucci gets to play a mere duke, but poor Winslet is the one wrecking her nails playing in the dirt. Kate Winslet, as you well know, is born to play such a role. She’s a period piece angel, a garden fairy, her creamy skin made for corsets, her wavy hair’s blonde highlights catching the sun’s warm rays, making her glow, making her attract the attention of the handsome and ill-married master gardener (Matthias Schoenaerts).

Sabine’s character is of course fictitious; women wouldn’t have been allowed to hold “jobs” at that time, even if they were widowed and otherwise poor, as Sabine. But Rickman’s insertion of her into a known piece of history really mixes things up and brings a level of enchantment to the piece. The gardens are beautiful, but they’re just the setting for a lot of familiar human emotion: love, betrayal, grief, triumph.

A Little Chaos is held up by fabulous performances by a very talented cast. It’s not quite passionate enough as a romance and is completely anachronistic as a historical drama. Nary a poor french peasant is glimpsed. But if you’re willing to let that go, I bet you’re going pulled into this fantasy as I was.