The Three Musketeers: Milady

This review may contain spoilers!

 

The Three Musketeers:Milady is the sequel to The Three Musketeers: D'Artagnan and picks up with D'Artagnan searching for his lost-love, Constance, while France steadily moves to war waged against the Protestants. It will be up to the Musketeers to unveil the shadowy plot that has lead to war before the country is engulfed in a needless conflict.

 

This film continues on the story in an immediately thrilling manner, watching D'Artagnan's personal quest to find his love become embroiled with the mysterious Milady de Winter was the perfect hook back in. The politics of the war play quite interesting, with a number of the more mysterious or politically embroiled figures tilting the plot, strategizing or revealing allegiances you wouldn't expect. I loved seeing how the Musketeers factored into this plot, often being used as pawns out of duty and showcasing their incredible skill; while also standing out as the heroes capable of resolving the mystery around the origins of this war. Martin Bourboulon has crafted a series of films that use the classic 'ticking clock' well, setting our heroes hurtling across the country to unveil the true instigator of this conspiracy. I loved D'Artagnan's reckless hunt for Constance, a narrative that feels consuming, makes him new enemies and holds a decent tragic trajectory. I also felt this film was only enhanced with more Milady de Winter, a character whose existence ruins Athos and D'Artagnan in very different ways. De Winter is a more interesting threat than one might expect and lends a very wicked streak to this sequel. I also have to give honourable mention to Aramis and Porthos' sub-plot in which they try to find a suitable husband for Aramis' expecting sister; it is a hilarious storyline that gives some much required levity to this story.

 

I love how this film looks from start to finish; the camera is so primed to move, be that in an action sequence or a sudden dramatic moment. The camera feels really free and yet it doesn't for an instant lose sight of some of the bold landscapes, or more intimate close moments. The visual effects aren't plentiful, but they work, I loved the cannon tower scene and how the boats being attacked looked. The score for these films is also unmatched, Guillaume Roussel has been one of my favourites to listen to in cinemas this year.

 

François Civil, who played D'Artagnan, seems a lot more wild and urgent due to the nature of his quest in this one; I loved seeing Civil let D'Artagnan's reckless streak consume him. Vincent Cassel, who played Athos, has a very heavy air of guilt hovering over him; Cassel's role is constantly torn between his bonds to others and his higher sense of duty. Romain Duris, who played Aramis, is very charismatic and captivates you with his showmanship; I found Duris' portrayal of his character's dogged hunt for a suitor for his sister to be entirely one of the funniest points in the film. Pio Marmaï, who played Porthos, is the comedic backbone of the Musketeers; the way he stumbles through trying to support Aramis leads to some of the best moments. Louis Garrel, who played King Louis XIII, is a severe figure at times who acts with some stronger finality in this feature; I do like that Garrel had more scenes to not lead a scene but partake in the levity of the dialogue. Vicky Krieps, who played Anne d'Autriche, is a great counterbalance to Garrel's temperamental role; Krieps serves as a grounding point and is more than up to the task. Lyna Khoudri, who played Constance Bonacieux, is a figure who is very tragically entangled with D'Artagnan and Milady; Khoudri finds the most goodly role of the cast and brings forth all the moral high notes you would expect. Eric Ruf, who played Le Cardinal de Richelieu, is a very interesting morally grey role; his big moment of confrontation with D'Artagnan had me on the edge of my seat. Marc Barbé, who played Capitaine de Tréville, remains an engaging stalwart leader of the Musketeers; his bravado in the siege scene is something noteworthy. Patrick Mille, who played Le comte de Chalais, is a figure who really shines with more screen time; Mille brings forth a real duplicitous snake of a role that adds well to the range of antagonists. Camille Rutherford, who played Mathilde, really fans the flames of comedy in her role; I also adored the chemistry she shared with Marmaï as they headed towards romance.

 

However, the best performance came from Eva Green, who played Milady. I am so happy Green really got to run with it in this iteration because she is so exceptional to watch. Milady de Winter feels like a caged, vicious animal at times, launching herself at foes with nothing but hatred and scorn in her eyes. She is a phenomenal manipulator, be that through trading emotive or seductive dialogue. Green has crafted a woman who was hurt and betrayed so much in her life, and when she found hurt and betrayal in the one she gave trust to, she hardened. This is a woman turned weapon. The character calls herself the Devil multiple times, and it's believable in many moments across the script. Eva Green plays an antagonist in this you cannot trust and love to hate.

 

I really couldn't stand the opening of this film, the long and lengthy flashback of key events from last film felt like the recap paired with a TV show. For a film watcher it set an offbeat when moving into the film. I was also quite surprised that the pace was slow given the push into conflict this time around, there wasn't always much of a hurry to push characters into their next moment of hardship or plot point, this pacing often felt like it took some of the punch out of what could have been an even stronger overarching narrative.

 

Jacob Fortune-Lloyd, who played Duc de Buckingham, is quite a reserved figure with little to give to the film; he has little presence for someone who is meant to be portraying a figure of political significance. Julien Frison, who played Gaston de France, is a bit too obvious as the major antagonist of the film; his wheedling demeanour means that he really doesn't hold the menace required for the big reveal. Ralph Amoussou, who played Hannibal, is quite an out-of-the-blue addition to the cast; Amoussou just sort of shows up in scenes, and he never slots in nicely across the film. Gabriel Almaer, who played Benjamin de la Fère, is probably one of my least favourite parts of this Musketeers series; I just don't genuinely believe the brotherly bond between him and Cassel. Ruben da Silva, who played Joseph, is not a strong young performer; this feels like a young kid still working it out and wasn't quite capable of fleshing out a whole character.    

Martin Bourboulon has crafted what Hollywood has lost with their blockbusters; these historical adventures are magnificent. I would give The Three Musketeers: Milady an 8/10.

The Watchers

This review may contain spoilers!

 

The Watchers follows Mina, a young pet store clerk who is stranded deep in the woods after her car breaks down. As night falls, she takes shelter in a mysterious bunker alongside three strangers, where they are observed by mysterious creatures who roam the woods at night.

 

I really liked how this film established intrigue, the dark twist of the forest magics coupled with mysterious entities really leads the charge with a strong premise. I have to admit that the more our protagonists pushed, the more I wanted to know as well. This might be a hereditary trait for the Shyamalan family, as the need to drive the story with a twist works quite well in most of Ishana's father's films too. You also feel those moments of danger very strongly, the rush for safety and the inability to access it in some scenes drove this film a little further. Moments like a mad dash to the bunker, a seemingly dead husband calling out in the dark of night or the bunker being violently attacked all set things right on edge. I also think the choice of mythology inspiration/monster for this horror film is quite a neat one, particularly early on.

 

One thing that excites me about Ishana Shyamalan as a director is the visual style she crafts through this; the whole film is very striking, with bold shots containing deep colours. This movie is quite a contained affair, so it was a thrill watching this film feel positively gothic in style at times, a neat mixture of tone and setting. The score for the film will really set you on edge when it's going, and I loved the soundtrack and how it weaved in a real variety of pieces.

 

Alistair Brammer, who played John, really leads us into this film well; Brammer is a very capable individual who is showing a very intense fear that drives his actions. John Lynch, who played Kilmartin, gets to deliver moments of exposition in a way that intrigues for a nice change; Lynch makes this mysterious role quite morally duplicitous, and I found that late addition to be really fascinating.

However, the best performance came from Dakota Fanning, who played Mina. This is quite an eccentric protagonist, she has a very murky depth to her that Fanning portrays nicely. We get the sense there is something a little askance with Mina from the start of the film; she is distant, has strange conversations with a caged bird and pretends to be an entirely different person on one occasion. She never fully feels grounded in herself, nor even her personal world around her. That is until she breaks down in the woods. Fanning really gets to bring out some interesting and very real stages of fear here that sets the tone moving forward. She also is constantly pushing against the status quo and rallying to move her fellow captors forward and out of danger. This role is also incredibly smart and deductive, a skill that really centres her as the hero of this story in the final act.

It is hard to connect with this movie most of the time, for two very strong reasons. The first being most of the characters are so devoid of likeable traits that it is actually hard to connect with this cast of characters. The protagonist mimics and parrots emotionally unsettling things and doesn't trust anyone. But then to make matters worse, she has one captor who is entirely defined by wondering when her husband will come running back, while another has random violent bursts of anger. The last occupant has some of the worst dialogue in the film, being given the entire exposition to deliver up. These are eccentric, slightly mad or oddball characters with few redeeming traits, resulting in a collection of people that you fail to become invested in. Even Mina's tragic backstory around feeling guilty about causing the car crash that killed her mother isn't connected in to the present day storyline very well. The second reason is just how much this film feels like it has to explain itself. This is an exposition heavy story, and everything that happens comes to the audience like an information package being rattled off. The movie often moves into implausible twists and turns, the glaringly obvious one being the bunker beneath the bunker and the absurdity that no one had found it until that point. The final act is another major crash and burn, with the final confrontation feeling quite underwhelming and the 'power of love' beating the odds without enough setup for that resolution. This film feels like it has a strong concept, but that the script needed to be tossed for a larger number of rewrites.

The visual effects are quite inconsistent in this, for example I really enjoyed the first scene at night in which we saw a Watcher. However, the flocks of birds, Darwin and the final monster confrontation at the end all looked hideous and didn't help some already poor narrative moments.

Georgina Campbell, who played Ciara, is all over the show in this role; I didn't enjoy this character being reduced to a blubbery mess only motivated by where her missing partner is at. Olwen Fouéré, who played Madeline, is a very out there character the whole way through; this film would have better served this character by giving her way less exposition to constantly keep delivering. Oliver Finnegan, who played Daniel, was a relatively annoying turbulent role; Finnegan is framed to be the loose cannon of the group, but he just winds up being one of the toughest characters to like.

I was excited to see if Ishana Shyamalan could break away from her Dad and do something fresh. Can confirm, she did not. I would give The Watchers a 4.5/10.

Am I Ok?

This review may contain spoilers!

 

Am I Ok? is a slice of life/coming of age story about Lucy, a woman in her 30s who goes through the journey of coming out late in life as a lesbian. Discovering herself is made all the more difficult when her best friend, Jane, reveals that she is moving to London around the same time.

 

This is a very beautiful sort of film, it has a very genuine story to tell, and it's not really interested in wandering into the realm of absurd very much. There are a couple of places where the comedy goes a little off the walls, but our protagonists remain very down to earth even in those moments. Lucy's journey felt very authentic; from the way she isn't quick to claim a label, to how she starts learning to understand her own attractions and view of love. The significant thing with this story is that Lucy's world keeps going with or without her, she is tearing herself up a little internally trying to discover her identity, but the film still forges ahead, dragging her along for the ride. It was really important this film didn't just ignite a switch within Lucy; she had such certainty of herself in some ways, but her whole life didn't change immediately. She built up that feeling of joy from accepting and celebrating her identity the long way round, something I think a lot of people who come out late in life relate to. Watching Lucy be so vulnerable throughout this by talking it through with her best friend to opening herself up to her first female relationship, right through to reconciling the hurt when that relationship doesn't go anywhere, is what sets this movie apart. I really feel like you get to live in Lucy's shoes and go on that journey. I always really admired that the film didn't take the easy way out and push Lucy and Jane together, holding a lesbian coming out story while also reinforcing a positive platonic relationship the whole way through worked nicely. Not only that, but I loved the way humour was used in Am I Ok? with awkward little quips shared between friends, sudden camp scenes out of nowhere or just natural chemistry bringing forth a light-heartedness was all the film needed to do to achieve that slice of life comedy tone.

 

I really loved the music that weaves throughout, quite a modern electric melody that gives that easygoing LA atmosphere. The soundtrack boasted some incredible track, my favourite was 'Tarzan Boy' by Baltimora, as it served to really unite our two leads well while bringing a final note to the feature. 

Dakota Johnson, who played Lucy, has really left Madame Web in the dust with this beautiful leading role; Johnson presents an incredible journey for this awkward, quietly funny woman who is coming out. Kiersey Clemons, who played Brittany, is really flirty and engages in a way with Johnson that excites you and her; yet the distance Clemons eventually creates with Johnson will turn you against her something fierce in the right way. Whitmer Thomas, who played Ben, is quite a sweet grounded ex-boyfriend turned friend role; the scene in which he and Johnson unite and bond after she is out is one of my favourites in the film. Tig Notaro, who played Sheila, by all accounts should have the most out there role in the film, but somehow she finds the balance; Notaro is a natural comedian and knows how to draw a laugh out of an odd scenario.

However, the best performance came from Sonoya Mizuno, who played Jane. This is a character who feels like a truly inseparable best friend and pairs so well against the more reserved and awkward Lucy. Mizuno is charismatic, often dominating scenes and projecting herself as larger than life. Yet in a more intimate scene she scales back down to someone who fits the mould of her friend, she is entirely gentle and nurturing at these points. Mizuno's character descends further into stress throughout the film as she grows apart from her friend and draws closer to leaving America. Seeing her get drawn into conflict and then eventually experience great misery is a tough watch when Mizuno is so very delightful. This isn't the focal character of the film by any means, but Mizuno has found something truly real in Jane and I enjoyed watching her for that.

Am I Ok? is a really delightful film that had me on the precipice of happy tears at a couple of points, but it didn't take me the whole way. The reason for that was fairly evident early on, this is a safe film with extremely low stakes. Beyond the unique journey of Lucy coming out, the film boils down to two best friends nearly fall apart and then they make up. The scenes along the way have moments of vulnerability and conflict, but nothing that cuts too deep. Even Lucy's coming out journey feels like she is entirely held in complete security for the most part. The film could have taken a meatier bite if it wanted to, or developed into a more realised comedy if it felt strongly about low stakes. But ultimately this is a film that has a simple story to tell, and it isn't interested in compromising itself or taking risks to tell that story.

This is a film that doesn't look like it had very much budget behind it, coupled with a directing team that lacked distinct visual style. The whole film has simple, blocky shots that make this whole thing look like a cheap TV show pilot looking to be picked up. The editing also set a slower pace than was really necessary, the film is already less than an hour and a half long, so some decisive cutting would have been ideal.

Jermaine Fowler, who played Danny, feels like quite a docile role; Fowler doesn't build into his big final scene very well, and it results in a tragic scene that winds up feeling abrupt. Molly Gordon, who played Kat, really goes into overdrive with her role in this; I feel like Gordon is really pushing it quite strong with her energy levels and there's no counterbalance to it. Sean Hayes, who played Stu, feels like a novelty comic book character; Hayes goes very kooky and over the top with this in a Hallmark film kind of way.

I really reflected on this film a lot. When I came out as bisexual late in life, it felt like a big moment, but it also felt hugely isolating. This isn't the sort of movie that is going to bowl people over, but it felt entirely genuine. I will admit that this film struck a personal chord that I really appreciated and related to.

An authentic and sincere late coming out story that will leave you feeling euphoric. I would give Am I Ok? a 7.5/10.

Bad Boys: Ride Or Die

This review may contain spoilers!

 

Bad Boys: Ride Or Die marks the fourth film in the Bad Boys franchise and sees our two heroes embroiled in a posthumous corruption case targeting the late Captain Howard. Along this fast moving action sequel, we see Marcus come face to face with his own mortality and Mike attempts to reconnect with his long-lost son, Armando.

 

The thing with action comedies is that these days there are so many of them, a lot of these blockbusters follow the same pattern or formula to find that comfortable sweet spot for audiences. Even down to how exactly the movie delivers jokes can become predictable. My biggest shock and the greatest strength of this particular entry is just how genuinely hilarious it is. The sub-plot that kicks this movie off around Marcus nearly dying of a heart attack, surviving and then having a sort of spiritual awakening that makes him feel unkillable is so stupid and yet somehow it is a slam dunk. Marcus has some of the most insane, incomprehensible and unpredictable scenes and dialogue exchanges within this film; it might be the funniest these films have ever been. While I found the more dramatic main storyline to be burdened with flaws, I do have to commend the feeling of danger pervasive in action sequences. There is a real mounting sense of the protagonists genuinely getting in over their heads in this that does a good job of upping the stakes.

The special effects in this are some of the nicer effects in a Bad Boys film, including a neat aircraft crash sequence twice and a well-designed albino alligator. There was also a phenomenal score from Lorne Balfe who transported us to this modern, cool setting that turns perilous at any sudden moment. The soundtrack also deserves a shout-out for keeping us grounded in some neat hip hop or hilarious nods to Black hits in comedic scenes.

 

Will Smith, who played Mike Lowery, has always served well as a leading man in an action flick; Smith's 'tough guy' who can't be rocked persona in this is as fun as it has ever been. Paola Núñez, who played Rita, has a severe hard edge that makes her an uncompromising woman in power; Núñez matches the macho energy of Smith well and knows exactly how to assert her own dominance in a scene. Tasha Smith, who played Theresa, has some solid chemistry with Lawrence as the central married couple of the film; she plays sincere affection even when he's quite erratic in a scene which evens things out nicely. Dennis Greene, who played Reggie, is quite a surprise as the mystery badass of the film; Greene has a deadpan delivery that leads to some excellent comedy.

However, the best performance came from Martin Lawrence, who played Marcus Burnett. This is a role that has always been the centre player for the humour in this action franchise. Yet I don't feel like he has ever run quite this wildly with it. Lawrence howls through unhinged reams of dialogue, with such an unpredictable manner that you can't help but find yourself in stitches. This is a role that makes no sense at times, comes off as obscene in others, is definitely certifiably insane and looked like a blast to play. Lawrence really got to cut loose here, and I'm quite glad because he makes it. Everything that really lands home with this film is Martin Lawrence playing Marcus Burnett the best he ever has.

Bad Boys has never really been a great action franchise, with over the top storylines, idiotic humour and an uninspired sense of direction. This time around, the lacking action storyline has minimal effort poured into it. Hedging some heavy bets on the dead carcass of a fan-favourite character (literally) and leaving anything else to an admittedly dull antagonist. The film tries to push storylines that feel outdated or poorly conceived; moments like the DA's involvement, Mike's anxiety or most notably the poor continuation of the Armando character. Bad Boys can't really escape being a flashy show-off fest, but there's no innovation and what would have been cool in the early 2000s doesn't work the same magic any more.

The worst part about this film might just be how ugly it looks, this thing is shot terribly and it becomes a not insignificant eyesore. This movie pushes into the worst extreme close-ups or point of view shots I have ever seen. There are multiple sequences where the camera tries to make the gunfights look like a shooter video game, a hideous choice that shows just because you attempt to be creative doesn't mean it works for your big budget film. The film overall feels like a fancy music video, all glamorous shots and quick fire visual montages before dumping us into garish looking scenes. Michael Bay might have passed the torch, but he neglected to mention the torch is burned down to the wick. 

Vanessa Hudgens and Alexander Ludwig, who played Kelly and Dorn respectively, felt like extra baggage hanging around from the last sequel; neither of these performers served much purpose than to pad out the action sequences in the final act. Eric Dane, who played McGrath, is really giving a pretty forgettable villain performance; Dane can deliver a cold line, but he feels like every mercenary leader bad guy we've had over the past fifty years of cinema. Ioan Gruffudd, who played Lockwood, feels very promising at first but seems a little wasted here overall; the same sleazy bad guy twist for him feels a bit tired. Jacob Scipio, who played Armando, couldn't be less like Will Smith's kid if he tried; Scipio feels lost as to his part in all this, which is fair enough because this is a role that gets poorly utilised throughout. Melanie Liburd, who played Christine, is just here to be Smith's onscreen love interest; Liburd gets no opportunity to really define her character at all. Rhea Seehorn, who played Judy, is this severe and overly intense role that just doesn't serve the film well; her little vendetta sub-plot was an extra thing too many. Tiffany Haddish, who played Tabitha, is just raunchy and seedy in this; it's not a funny cameo or a role that really serves much purpose at all. Joe Pantoliano, who played Captain Howard, is a role that should've just stayed dead(er); Pantoliano's weird spiritual version of himself feels like quite a forced element. John Salley, who played Fletcher, is a novelty call back role that doesn't land; Salley's comedic appearance isn't all that funny beyond the one-sided work Lawrence is putting in. Bianca Bethune, who played Megan, is the character within the Burnett family who feels forgotten about; she is placed in this film for continuity more than anything else. Quinn Hemphill, who played Callie, is really in this to give the plot a young hostage to save; her role in the Armando/Pantoliano vendetta arc is fairly predictable and an easy performance. Jason Davis, who played Grice, is quite an easy to peg red herring role; he's not a likeable role and is another character overstuffing a crowded blockbuster.

Despite being the funniest Bad Boys to date, there's still nothing really about this that makes it good as a story. I would give Bad Boys: Ride Or Die a 4.5/10.

The Three Musketeers: D'Artagnan

This review may contain spoilers!

 

The Three Musketeers: D'Artagnan is an adaptation of Alexandre Dumas' famous novel 'The Three Musketeers' and depicts the story of D'Artagnan, a young man hopeful of joining the King's Musketeers. In his journey to becoming a musketeer, he allies himself with the famed three musketeers and gets embroiled in a political conspiracy to set Catholic France into war against the Protestants.

 

This movie felt like a return to the type of movie going experience I crave. Growing up, I was surrounded by blockbusters that really immersed you in their world, often blending a significant amount of practical effects with CGI imagery and placing a good script at the centre of it all. The writing didn't have to compromise itself to become a 'blockbuster'. I think of the epic period blockbusters like Sherlock Holmes by Guy Ritchie or the Pirate of the Caribbean series; that to me is what watching The Three Musketeers: D'Artagnan was like. This movie sets us with a young protagonist who is incredibly charismatic and wields a strong moral compass; from the first scene, we see him as an honour bound fighter for justice. The journey he takes us on is one filled with ambition and adventure, we see him untie with those who make the Musketeers great and learn to live by their code. I loved how the film muddled itself into sinister intrigue; putting Athos in great peril by framing him for a crime he didn't commit or scandalising the Queen of France with only the Musketeers to save her. The movie really handles suspense and mystery quite well, often placing us a little ahead as an audience wanting to see our heroes work it out and succeed. There is also a really charming romantic sub-plot that just feels authentic and sweet, it's the definitive cherry on top.

This movie looks phenomenal from start to finish, with a real effort made to put practical imagery and effects first at every turn. The way this film is shot is really varied and creative, scenes feel bold and stark, leading to a serious dramatic edge. But the fight scenes? The fight scenes move with a wild, yet sharp focus that often provides interesting perspective to battles. Visually, this is currently my favourite collection of fight sequences in a film so far this year. The music really has a bit of weight to it, feeling as bold and heroic as its protagonists. There were whole tracks that felt on the level of Hans Zimmer, but they were crafted by an extremely talented individual known as Guillaume Roussel.

 

François Civil, who played Charles d'Artagan, is a triumph of a protagonist; Civil's ability to be so entirely charming and cocky in equal measure without compromising his hero's identity is astounding. Romain Duris, who played Aramis, feels born to play this part; Duris is very seductive in his manner while also maintaining a gentlemanly demeanour. Pio Marmaï, who played Porthos, is a boisterous role that lives large in his scenes; Marmaï is an exuberant figure who also manages to ground the heroic Musketeers. Eva Green, who played Milady, is a true snake of an antagonist; every scene with Green feels like danger waiting to strike. Louis Garrel, who played Louis XIII, is a just monarch struggling to hold to his nature; Garrel is immensely likeable as the King which makes his road to succumbing to jealousy all the more heartbreaking. Vicky Krieps, who played Anne d'Autriche, is such a naturally regal figure; Krieps plays a quiet vulnerability rather well at various points in the film. Lyna Khoudri, who played Constance Bonacieux, has incredible chemistry with Civil; the sharp dialogue delivery and the way they play off one another results in an amazing romantic sub-plot. Eric Ruf, who played Cardinal de Richelieu, works extremely well as the shadowy antagonist of this film; Ruf plays into a duplicitous figure in the midst of a scene very well. Marc Barbé, who played Capitaine de Tréville, is wonderful as the stoic yet kind leader of the Musketeers; Barbé feels like a leader torn between duty and his greater dedication to doing good. 

However, the best performance came from Vincent Cassel, who played Armand de Sillègue d'Athos d'Hauteville. This role is rarely the central nor pivotal focus of the film; Athos is often the Musketeer most content not dominating a scene. But Cassel's seasoned experience makes Athos a quietly intriguing character to watch. He cuts a very traditionally noble figure, a man of high honour who puts everyone before himself. Cassel also knows how to present a man being chased by his own inner demons, leaving Athos quite the haunted figure at times. His rapport with his fellow cast mates is wonderful, and the four leads of this film really bounce off one another very well. Athos' trial is one of my favourite scenes of the film, how willing he is to put what is right even before himself makes this Musketeer one of my favourites to watch.

The first act is a bit of a steep buy in at first, you are delivered a lot of political exposition alongside character exposition that makes the storytelling feel a bit dense. It's not easy to muddle through all the information and find the joy of the story, but as we progress towards the end of act one and the start of the second act it finds its groove. I adore Athos in this, but his ties to a Protestant family and his secret past are quite clunky in their delivery. There needed to be some more work to find fitting points of delivery for this. I also wish the film wasn't so hell-bent on plugging Part 2, the sequel push as the film came into the final act really took away from the impact of the ending.

Jacob Fortune-Lloyd, who played Duc de Buckingham, is an interesting if not safe performer; his appearance is fleeting and doesn't land with the same impact as other romantic storylines. Gabriel Almaer, who played Benjamin de la Fère, never makes a strong impression upon the story; he fits awkwardly and doesn't even have much chemistry with his onscreen brother, Cassel.

France is currently making the type of blockbuster that American and British screens are starving for, and this is the proof. I would give The Three Musketeers: D'Artagnan an 8/10.