“Gunpowder Milkshake” review: a flawed but fun action flick


MOVIE “Powdered milk shakes”

OR Streaming on Netflix

WHAT IS IT ABOUT In “Gunpowder Milkshake”, Karen Gillan plays an assassin named Sam who works for a generic movie thugs group called The Firm, represented by Paul Giamatti as the director of human resources and his protector.

A mission to collect money from an accountant takes a turn when Sam learns that his target is using the money to save his kidnapped daughter Emily (Chloe Coleman).

As is always the case in movies like this, dressed villains don’t like deviations from protocol, so when Sam disobeys direct orders in an attempt to bring Emily home, she loses protection. by The Firm.

Combine that with the fact that she killed the son of another generic villain on her previous mission and, well, a whole bunch of people want her dead.

Hope you got it all figured out, but if you haven’t, it doesn’t really matter: this film, now streaming on Netflix, is a styling exercise by Israeli director Navot Papushado. It exists entirely to justify flashy action scenes starring Gillan and her exceptional co-stars – Angela Bassett, Lena Headey, Carla Gugino and Michelle Yeoh.

MY SAY Let’s leave out the most obvious point here: “Gunpowder Milkshake” doesn’t just live somewhere in the “John Wick” universe, it’s practically a next-door neighbor.

It takes place in an urban setting made up of places familiar to anyone who has seen Keanu Reeves’ revenge trilogy or, for that matter, read a graphic novel: there’s a neon dinner where the waitress confiscates the guns from her. ‘entrance ; a grand library that is truly an armory, with classic artwork adorning the walls.

Action scenes take place in a bowling alley that looks like it was set up for a disco night and a doctor’s office that looks like it was straight out of a sci-fi setting. Faceless villains gather on leather sofas to mull over while Giamatti places orders over the phone.

“Gunpowder Milkshake” is filled with jokes and winks; it offers comedic violence and dialogue like “I need guns. Try the self-help section.” The characters all wield flip phones, but this bet never registers as intelligently as the filmmaker seems to believe.

In other words, there isn’t much to differentiate the film from the countless predecessors, with one obvious exception.

It matters a great deal that the heroes are all female, but the movie makes the huge mistake of underutilizing Bassett, Headey, Gugino, and Yeoh.

If you’re going to put together such a collection of stars and give them the opportunity to make their way through action scenes, audiences deserve to see a lot more than here.

That being said, the picture does offer its fair share of quality escape. Any action movie that features a full slow-motion sequence of The Animals cover of Bob Dylan’s “It’s All Over Now Baby Blue” automatically offers plenty of recommendations.

LOWER LINE It’s a flawed movie for a lot of reasons, but it’s also quite a fun moment.

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