The Three Musketeers: Milady Review

The Three Musketeers: Milady
After his beloved Constance (Lyna Khoudri) is kidnapped, young musketeer D’Artagnan (François Civil) sets out to rescue her, leading to an uneasy alliance with the mysterious Milady de Winter (Eva Green), whom he’d presumed dead. Meanwhile, a shadowy group of conspirators plan to spark civil war in France…

by Dan Jolin |
Updated on

Back in April, Martin Bourboulon’s The Three Musketeers: D’Artagnan was released in the UK with little fanfare and received far less attention than it deserved. A kinetic and gritty take on Dumas’ classic swashbuckler (and the first French adaptation in over 60 years), it brought a punchy, Bourne-like style to its frilly material, without sacrificing any of the wit and panache you’d expect from a Musketeers movie. It also featured the best hats witnessed on the big screen this year (take that, Oppenheimer) and, more significantly, ended on a tantalising cliffhanger.

As such, this blessedly quick-to-land second instalment (shot back-to-back with the first) picks immediately up from part one, launching us straight into a frantic prison-break sequence — complete with an obligatory but breathtaking moat-dive — and barely drops the pace for the next two hours.

Despite the subtitle and the opening sequence’s promise of more Eva Green (spoiler alert: the slinky Milady survived her clifftop jump in the last film), the focus here is still very much on François Civil’s grimily handsome D’Artagnan, on a hot-headed quest to locate his missing girlfriend Constance (Lyna Khoudri). But Green is still given plenty to chew on, in a role she inhabits so effectively — toying with our sympathies in virtually every scene she appears — one might succumb to the cliché that she was born to play it. She also gets stuck far more into the action, whether going one-on-one with a slavering attack-dog or sword-fighting her way through a burning stable.

It's a shame that, once again, the smartly cast titular trio (Vincent Cassel, Romain Duris and Pio Marmaï) are largely sidelined into light-hearted B-plots, though Cassel’s Athos is given some devastating personal stakes on the main stage. However, the primary draw here is the action which, with Bourboulon’s practical, done-for-real approach, makes for some of the most thrilling on-screen blade-work we’ve seen in years. Almost as thrilling as those magnificent hats.

If you loved D’Artagnan, you won’t be let down by Milady. If you’ve not seen D’Artagnan, then get ready to enjoy the year’s best non-Barbenheinmer double bill.
Just so you know, whilst we may receive a commission or other compensation from the links on this website, we never allow this to influence product selections - read why you should trust us