‘The Old Guard 2' Review: A Fun but Disposable Netflix Sequel Proves That Some Action Franchises Weren't Built to Live Forever
If you've seen the movie (or read the graphic novel series on which it's based), you know what I'm talking about: An eternal warrior named Quỳnh (Van Veronica Ngo) is sealed inside an iron maiden during a 16th century witch trial and cast into the bottom of the sea, where she's doomed to drown, gasp back to life, and then drown again until the end of time. Not fun!
More from IndieWire
Uma Thurman Reveals What Makes Her Say 'No' to a Project: 'I'm Really, Really Practical'
Mahershala Ali Sidesteps 'Blade' Status Questions: 'Leave Me Out of It'
Be that as it may, Quỳnh didn't seem too happy when she inexplicably reappeared on the surface at the end of the film. The look on her face was less 'I'm so relieved to have air in my lungs for the first time in more than 500 years,' and more 'It's too bad that my friends are forever, because I really want to murder them for letting me choke in hell for half a millennium.'
What we already know, and what Quỳnh is conflicted to learn towards the beginning of 'The Old Guard 2,' is that fate will give her the chance for revenge, as her ride-and-not-die bestie Andromache (Charlize Theron) somehow lost her powers during the course of the previous movie. And so the stage would appear to be set for a fun — and emotionally fraught — grudge match of a sequel about two several-thousand-year-olds who fight over the best way to spend the rest of their suddenly finite time together.
Alas, neither of these women can imagine just how finite that time will be. For one thing, the oldest immortal of them all (Uma Thurman as Discord) has returned with a plan to purge the Earth of her own kind. For another, 'The Old Guard 2' is frustratingly — if also pointedly — rushed for a movie about people who've been alive for eons, and it never gives any of its characters the chance to meaningfully hash out how the bonds of friendship might pull tighter as they get twisted over the course of a few hundred decades.
What does it entail to hurt someone who lives forever? How deep can a wound fester when time fails to heal it? Were Andy and Quỳnh in love, or is the Hays Code-level homoeroticism between them meant to reflect a relationship too vast to be defined by mortal parameters? Some of these topics are nominally addressed through aggrieved wire-fu and/or an elaborate shootout near the core of a nuclear power plant, and 'The Old Guard 2' — which hits the ground running, and takes palpably goofy pleasure in being unburdened from the table-setting that sucked the fun out of the first one — excels in the rare moments when its action stems from the loaded question of what its characters are really fighting for.
To an even greater degree than its predecessor, however, this sequel is too busy satisfying the basic conditions of its genre to do anything memorable with them. Worse: the gallingly incomplete nature of its story — which ends on Netflix's biggest cliffhanger since 'Squid Game 2,' but without the benefit of a third chapter in the can — leaves the movie with a putrid aftertaste, not only because it's so unsatisfying, but also because it affirms the moral of Greg Rucka's script in the worst possible way. Andy tells us that time is only as meaningful as you make it. In that sense, it's hard not to feel like the 104 minutes it takes to watch 'The Old Guard 2' are more of a waste than they're worth.
Anyone still endeared to these characters from Prince-Bythewood's installment will probably enjoy the chance to catch up with them, however brief it might be. Helming her first movie since 2011's 'Yelling to the Sky,' replacement director Victoria Mahoney seizes on the fun of watching Andy's crew run toward danger without a care in the world, and this sequel's explosive opening sequence — a raid on an arms dealer's mansion in Croatia — is made a million times more enjoyable by the devil may care attitude that immortals like Nicky (Luca Marinelli, fresh off his silent but sublime performance in 'Death Stranding 2') and Joe (Marwan Kenzari) bring to the James Bond-coded car chase that caps things off.
Nile Freeman (KiKi Layne) was a new recruit the last time around, but she's already outgrown any fear of death, much to the same extent that the newly mortal Andy has yet to develop one. Chiwetel Ejiofor's CIA liaison also returns as an audience surrogate of sorts (someone needs to gawp at all of the carnage), and though he doesn't get a ton to do, no movie has ever been made worse by having more Chiwetel Ejiofor in it. And what of Matthias Schoenaerts' Booker, who was exiled for betraying the Old Guard as part of a bid to cure his eternality? Well, he's back too, if only so Quỳnh can use him to find Andy.
While his scenes with the group are some of the movie's best for how they weigh a single misstep against several millennia of solidarity, there are other traces of nuance in the early going of this story. Still one of the great undersung action stars of the 21st century, Theron might delegate most of her performance in these movies to her jet-black wig, but she convincingly sells the idea that Andy is enjoying her newfound mortality and all that it entails — the hangovers are brutal, but getting drunk is a lot more fun. The double-edged sword of her reunion with Quỳnh is sharpened by the looming specter of death, and Mahoney tees it up with a clever (and seemingly in-camera) shot that finds Andy walking through the centuries in order to meet up with the woman who once walked alongside her.
But as the movie begins to bullshit its way through the whys and hows of living forever, the procedure of it all starts to distract from the emotions at hand, and Discord is never remotely interesting enough as a villain to justify all of the legwork required to make sense of her plot. Henry Golding plays a bookkeeper whose sole purpose is to set up the lore, but Discord's threat always feels more contrived than inevitable.
Thurman glowers with the best of them, but a furtive plan and a few hard stares isn't enough to support a character who's supposedly been miffed at we mortals ever since she watched Jesus get crucified before her eyes. Does she want to purge us off the planet, as hijacking a nuclear power plant might suggest, or is she more concerned with her own suffering? 'The Old Guard 2' tells us the answer, but forces us to wait until the next movie, if there even is a next movie, to give a shit about how she got there, or what it could mean for Andy's ever-complicating relationship with Quỳnh.
And there's precious little pleasure to be found in that deferral, as the climactic fight — in which Beatrix Kiddo finally gets to flex her skills — is an under-lit CGI blah-fest that epitomizes how eager this franchise is to sacrifice its eternal characters at the altar of hyper-ephemeral streaming dross. That non-finale is especially disappointing at the end of a movie that makes an effort, at least during its first half, to run with its premise. The action can be choppy, and the camerawork grows increasingly focused on compensating for little cheats in the film's stunt work, but Mahoney never misses a chance to crush a pair of legs that can grow right back, or to smash someone through a window without any concern for what might happen if they catch a shard of glass in their neck.
Watching Joe smush his disembodied thumb back onto his hand with a perfect 'thumbs up,' it's hard not to wish that his franchise could magically pull itself together in the same way. Alas, those who loved 'The Old Guard' are going to be the ones most annoyed by the decision to leave its sequel severed in half. Whether it's the ultimate goal of her plan or just a byproduct of what she's really after, Discord is happy for people to suffer; one way or another, she's about to get her wish.
'The Old Guard 2' is now available to stream on Netflix.
Want to stay up to date on IndieWire's film and critical thoughts? to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best new reviews and streaming picks along with some exclusive musings — all only available to subscribers.
Best of IndieWire
The 25 Best Alfred Hitchcock Movies, Ranked
Every IndieWire TV Review from 2020, Ranked by Grade from Best to Worst
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Tom's Guide
41 minutes ago
- Tom's Guide
Netflix's new mystery thriller series has already broken into the top 10 — and it could be your perfect summer binge-watch
If you're looking for a fresh thriller to dive into this week, Netflix's new French limited series 'Under a Dark Sun' might be worth a look. It dropped on July 9, and while it didn't really make much noise last week, it has since climbed into the U.S. top 10, sitting comfortably at No. 8 as of today. The six-episode mystery follows a single mother trying to put her past behind her. But her new beginning takes a dark turn after she accepts a job at a flower farm in Provence, only to become the main suspect when the farm's patriarch is found dead. This premise alone sounds like prime material for an engaging binge-watch this week. Plus, the setting in Provence offers a unique visual style compared to typical thrillers, and I'm definitely someone who appreciates a series more when it's visually appealing. For those who enjoy twisty whodunits filled with plot twists and plenty of family drama, 'Under a Dark Sun' could well deserve a spot on your summer watchlist. Here's everything to know about the series and whether it's worth your time. 'Under a Dark Sun' follows Alba Mazier (Ava Baya), a single mother who arrives at a flower farm in Provence after receiving a mysterious job offer. Hoping for a fresh start, she instead finds herself at the center of a murder investigation when the farm's owner, Arnaud Lasserre (Thibault de Montalembert), is found dead. The situation escalates when it's revealed that Arnaud was Alba's biological father, and she's named in his will as an heir to part of his estate. As suspicion mounts, Alba must defend herself against both the law and the Lasserre family, who are determined to protect their inheritance. She finds an unlikely ally in Manon (Claire Romain), Arnaud's granddaughter and her defense lawyer, while Arnaud's widow Béatrice (Isabelle Adjani) leads efforts to cut Alba out of the picture. Get instant access to breaking news, the hottest reviews, great deals and helpful tips. 'Under a Dark Sun' seems to have plenty of intriguing ingredients that could make for a gripping watch. At its core, it's a sun-drenched mystery wrapped in family drama, with a single mother caught in the middle of some dangerous secrets. Not really standout material but you can't deny that it sounds genuinely interesting. At its core, it's a sun-drenched mystery wrapped in family drama, with a single mother caught in the middle of some dangerous secrets. With just six episodes, it's a relatively quick binge that won't demand a huge time commitment. The setting in sunny Provence adds an interesting visual contrast to the darker storylines, helping it feel a bit different from your usual thriller fare on Netflix. As with many international series, watching with subtitles is the best way to fully appreciate the performances and original tone. At the time of writing, 'Under a Dark Sun' doesn't have a Rotten Tomatoes score, but there are some reviews online. Decider's Joel Keller said: 'Under A Dark Sun has just enough thrills, despite a pedestrian mystery, and fun-to-watch performances by Baya and Adjani, that the show is worth a viewer's time.' Meanwhile, Charles Hartford from But Why Tho? A Geek Community stated the show 'delivers a multi-layered story that comes together in some aspects, but not others. The characters and narrative coalesce to form a tense and compelling tale that, however, never fully materializes due to presentational shortcomings.' The Review Geek's Greg Wheeler said: 'Despite its messy execution, Under a Dark Sun is an easy binge with strong performances, a compelling lead, and just enough intrigue to carry you through. If you can overlook its plot holes, there's fun to be had — just don't expect a flawless mystery here.' The general vibe is that 'Under a Dark Sun' isn't a perfect mystery, with some plot holes and uneven execution holding it back. However, strong performances from Baya and Adjani help keep the show engaging, delivering enough tension to maintain interest. While the story may feel flat at times and the presentation occasionally falters, it still offers an easy, entertaining binge for those who don't mind overlooking some flaws. If you're someone who enjoys twisty whodunits that aren't too complicated, this French limited series might be worth checking out, even if it's something you stick on in the background. You can stream 'Under a Dark Sun' on Netflix now. Otherwise, see what else is new on Netflix in July 2025.


Vogue
an hour ago
- Vogue
Let's Face It: We All Have a Wendy Jones
Anyone who has ever been in a relationship has a Wendy Jones: someone who lives and breathes so viscerally in your head they're practically part of you. You know everything about them, from the jeans they wear and the pilates studio they frequent to the names of their siblings and which Greek island they visited five years ago. You hear their voice when you close your eyes at night. You see their shadow lurking in every corner. You loathe them. You worship them. You're hopelessly addicted to them. Wendy Jones is a character in Lena Dunham's new Netflix series, Too Much. Played by Emily Ratajkowski, she is the new girlfriend of Zev (Michael Zegen), the ex of main character Jessica (Meg Stalter), whose fixation opens every episode by way of a voiceover addressing Wendy directly. 'Dear Wendy Jones,' says Jessica, before proceeding to unleash various soliloquies about her new life in London, where she has moved in search of a fresh start after her relationship of seven years with Zev came to an end. What follows throughout the 10-episode series are several social media deep dives and emotional outbursts illustrating the hold that Wendy has over Jessica's soul and spirit. She can think of little else and, at one point, pretends to watch an entire film with the man she's just started dating while secretly scrolling through Wendy's Instagram. It doesn't help that Wendy is an influencer, giving Jessica endless information and content to pore and cry over. To reduce this set of feelings to jealousy would be myopic. It's not that Jessica necessarily wants to get back with Zev. Nor is it even that she wants to be more like Wendy, with her self-made social empire and goddess-like face (this is EmRata, remember). The fixations we have on an ex's new partner run far deeper than that. I know that because I've experienced them—many, many times. Whenever an ex of mine has started dating someone new, I've seen it as an invitation to obsess. It's exciting, in a way, like the new partner becomes a blank whiteboard for me to project all of my worst insecurities onto. Generally, against my better judgement, I start by looking at her body: how does it look in comparison to mine? What clothes suit her figure that wouldn't suit mine? How much natural frizz is there in her hair when it dries naturally? Are her feet so wide that she often needs special shoes, or are they delicate and narrow, like a ballerina's?


Los Angeles Times
an hour ago
- Los Angeles Times
YouTuber Michelle Khare's latest challenge? To win an Emmy
Michelle Khare has mastered taekwondo, muscled through police academy and conquered Houdini's deadliest trick. But now comes a different kind of challenge for the popular daredevil: proving to the Hollywood establishment that Emmy-worthy content arises from YouTube. The host, known for her online reality series 'Challenge Accepted,' is part of a group of YouTube creators with massive followings, producing high-caliber content, who are vying for Primetime Emmy Awards this year. Although she won't need to enlist the help of an Olympian or train for months this time around, she's taking the challenge head-on. But while she's been on the awards campaign, Khare said her top priority is letting her videos speak for themselves. To that end, she's taken on some high-profile challenges lately, including surprising Tom Cruise at the premiere of 'Mission: Impossible — The Final Reckoning.' She got in by donning a mask a la the spy franchise, whipping it off for the big reveal. And she teased the process of training to take on Cruise's infamous stunt of hanging off a plane as it's taking off. The video has garnered 769,000 views. 'My primary concern constantly is, 'Is the show we're making worth a nomination?' and it needs to be, always,' she said. Having a creator win an Emmy would be yet another milestone in YouTube's quest for global dominance. People now spend more time watching YouTube on TV screens than viewing subscription-based streaming services like Netflix and Prime Video, according to data from Nielsen. On average, there are more than 20 million videos uploaded daily to YouTube, according to the company. Google-owned YouTube's revenue last year was estimated to be $54.2 billion, which would make it the second-largest media company behind Walt Disney Co., according to a recent report from research firm MoffettNathanson. Creators self-submitted for the awards, and YouTube has been supporting their campaigns to bring awareness to their content and sway Emmy voters. The creators and YouTube are jointly contributing to the campaigns. No matter what happens when nominations are announced Tuesday, this year's push is a long time coming. Traditional studios and networks have substantial budgets dedicated to awards campaigns because the trophies and the glamour of awards season are not just superficial. A major nomination or award serves as a signal of high quality and legitimacy. That would be all the more meaningful for online creators, who have traditionally been seen as on the outskirts of Hollywood. For the individual creators and their companies, the investment in the Emmys race could lead to new or more fruitful relationships with advertisers and sponsors. The prestige recognition could also open the door for different opportunities for creators, like Lilly Singh's late-night stint or MrBeast's competition series on Prime Video. Khare said when she met with YouTube Chief Executive Neal Mohan shortly after he was appointed in 2023, he asked her what the company could do for her. Helping a creator earn an Emmy was her request, she said. 'If it's not me on July 15, if it's anybody else, if it's this year, next year, 10 years from now, I can't wait,' she said. Khare, who is hoping for a nomination in the hosted nonfiction series category, is in good company with two other YouTube shows in the running for awards this year. 'Good Mythical Morning,' a daily show hosted by YouTube personalities Rhett McLaughlin and Link Neal, and Sean Evans' talk show 'Hot Ones,' where celebrity guests eat progressively spicier chicken wings, are also eligible for Emmys. Last year, 'My Next Guest With David Letterman and John Mulaney,' an 'Only Murders in the Building' aftershow and 'The Daily Show' won in the respective categories these YouTubers are hoping for a spot in. 'There's a reason traditional Hollywood cares about awards,' Khare said. 'It attracts the crew who want to work on [the show]. It attracts the audience to bring viewership, and it also attracts advertisers to financially support and make the show continually sustainable, in addition to all of the other wonderful publicity things that it does to elevate us into this world against legacy television.' In a 2024 guest column for the Hollywood Reporter, Mohan wrote that YouTube creators are not just vlogging from their bedrooms. They have writers' rooms, production teams and business strategies. Mohan wrote that the Television Academy recognizing creators wouldn't 'detract from its storied history' but rather ensure the group is forward-looking. 'In order to maintain its relevance and emerge a leader in the digital age of entertainment, the Emmys should celebrate all kinds of content, especially the creators whose storytelling is pushing culture forward,' he wrote. A 2025 report from the Television Academy released in February shows the members skew older. About 50% of the body reported their age, and of that group, roughly 68% are age 41 or older. Much of the challenge in these creators' quests to get nominated for or win an Emmy Award is making sure voters are familiar with their YouTube content. Although they each attract millions of viewers, Hollywood's more old-school folks might not have come across their videos before the awards push began. Khare, who said she had always wanted to work in television, started off interning at legacy studios before she took on a role as a video producer for BuzzFeed in its heyday. She said her experience making YouTube videos for the media company was like going to 'paid graduate school for content creation.' At the same time, she was 'moonlighting' as a professional cyclist, she said. Creating 'Challenge Accepted,' where she often undertakes incredible physical tasks, was a marriage of her love for video content and athletics. And the extreme stunts she's able to pull off make her particularly adept at getting attention online. Training like an Olympic boxer, for example. Or learning how to take hits like a superhero stunt performer. Beyond what creators are doing and contributing to the campaigns themselves, YouTube is supporting the push for Emmys, most visibly by hosting its first formal For Your Consideration, or FYC, event in coordination with the Television Academy. More than a decade ago, Bernie Su won an Emmy for a YouTube series he worked on. As far as he's aware, his 2013 win marked the first time 'the word YouTube has ever appeared on the trophy,' Su said. He went on to win two more Emmys, one for another YouTube series and one for a Twitch series. The category for his YouTube wins, recognizing creative achievement in interactive media for an original interactive program, is judged by panels of industry professionals, rather than by popular vote. But Su said his road to win the Emmys looked very different than the creators in the race today. YouTube wasn't even aware he and his team were submitting their series for Emmy consideration in 2013, he said. Still, Su said he's rooting for Khare and the other creators in the running this year, especially since he's seen firsthand how an Emmy Award helps to legitimize digital-native work. 'My parents are very much all about the three Emmy wins when they talk about their son,' he said. 'Not about anything else. It starts there. That's the nexus of the work that I do.' YouTube declined to share how much money the company has spent to support the campaigns this year. Angela Courtin, a YouTube executive who's helming the awards push, said the company is relying on 'existing commitments' like billboard space and activations at film festivals to highlight the Emmy contenders. 'When they decided that they wanted to be seen among their peers equally, then it became our responsibility and our opportunity, as well as our privilege, to collaborate with them to do so,' Courtin said. 'At the end of the day, the award sits on their mantle, not ours. It will never be in my office.' Offering this kind of support to creators serves YouTube too. Beyond the benefits of recognition as a serious player in the traditional television world, and the potential boost in advertising dollars flowing to the company, YouTube putting both monetary and figurative weight behind creators is a worthwhile investment, said Jeremy Goldman, senior director of briefings at eMarketer. After all, YouTube doesn't want to lose more of its talent roster to Instagram Reels and TikTok. 'YouTube creators can take their ideas elsewhere,' Goldman said. 'The more you support them, the more likely they are to go to YouTube for future endeavors, which has been very valuable for YouTube, because it's basically people creating [intellectual property].' Brian Flanagan, the president of Mythical, the studio founded by YouTubers Rhett and Link, said seeking awards recognition is not about ego but about acknowledging the many people behind 'Good Mythical Morning' and the other shows Mythical makes that draw audiences in the millions. 'GMM' is eligible in the category honoring short-form comedy, drama or variety series. Recent winners include 'Carpool Karaoke: The Series' and 'I Think You Should Leave With Tim Robinson.' Mythical is also acutely aware of the business implications of a major award nomination or win. 'If you want to seek premium advertising, top-flight guests and other trappings of the best of the best of Hollywood television, it could really be a distinguishing mark, and we'd be excited to have that stamp on us,' Flanagan said. Evans, who is vying for recognition in the talk series category with the likes of Jon Stewart, Jimmy Kimmel, Seth Meyers and Stephen Colbert, told The Times in June that he feels 'Hot Ones' should be in the mix with these traditional television mainstays. 'I didn't know that we'd be a part of the conversation, never dreamed of it,' he said. 'But now that we are, I'll say with my full chest that we belong.' Khare would also be entering a storied category with legendary past winners like Anthony Bourdain and David Letterman. That prospect, perhaps unsurprisingly given her record of daunting feats, doesn't intimidate her. The list of past winners in this category and other television stars who have inspired Khare's work are mostly men. 'I would love to inspire young women to go out and be great too,' she said. Despite the tough odds of securing not only a nomination but shooting for a win in a competitive field, Khare remains optimistic about her chances. 'Conan O'Brien, I'm coming for you,' she quipped.