Review of The Old Guard

The Old Guard carries proof that adaptation is not synonymous with quality. The infamous comic book writer Greg Rucka, already famous for his facets in DC, assumed for the first time the responsibility of writing the script for a film adaptation, in the case of the miniseries he created at Image Comics with Argentine artist Leandro Fernandez. Having modifications with respect to Netflix, we accompany a group of warriors that do not die, and that it was after age they watched the wars of men until arriving these days, when they act as a squad of special operations trying to do good in the world . Charlize Theron leads the internationalized cast, whose ethnicities and origins correspond to their characters in the miniseries, from rival knights to the Crusades to the survivor of the Napoleonic wars. In the centralism of Old Guard there is disillusionment with the viewer, coming in the cold behavior of the characters and in the shootings of Tarantino. The quality of the structure is not able to give a voice to HQ that does not come immediately. This is the work of an epic distinction that different media do not have the same simulated content as other militarized scenes. It is a great orgasm of violated trivialization. Part of the responsibility is, of course, with Greg Rucka, whose script combines Highlander with Sense8 but lacks the charm of the former or the globalizing wit of the latter. As a construction of a historical and geopolitical universe, his text is satisfied with clichés of the American imagination (the maximum of exoticism in the world is always to return to the mud houses of Afghanistan) and with jokes of namedroping (it is very symptomatic that there is grace with the fact that Andy had sex with Auguste Rodin but there is no mention of the current affairs, which would humanize the character as in the HQ, however empty). These moments are supposed to take the viewer on a journey through history and its famous famous figures, but in reality they are a pedantic list of references that only evidence the laziness of the script in seeking any specificity. What is left is the result of a look at violence and speeches over paranoia trying to be an adaptation, taking refuge in the violent action accumulated in non-adaptation but in strangeness.