Hide your gays trope- Now I could be off-base on this one, but I think they were hinting at a romance between two of the library women. However, we don't see it in screen. If this was an implied romance it definitely falls under the same criticism that J.K Rowling and other writers have received for having gay characters but being too afraid to actually show their love. If you want to have gay characters don't cloak it in this mystery like it's a dirty little secret. Frank Ilfman to Score Navot Papushado's 'Gunpowder Milkshake' ". Film Music Reporter. December 16, 2019.

Gleiberman, Owen (2021-07-15). " 'Gunpowder Milkshake' Review: Karen Gillan and Lena Headey Team Up for a Neon-Drenched Sisterhood-of-Assassins Action Fantasy". Variety . Retrieved 2021-07-19. Dolby TrueHD/Atmos Audio English 3974 kbps 7.1/ 48 kHz / 3334 kbps / 16-bit (AC3 Core: 5.1 / 48 kHz / 640 kbps)McNary, Dave (June 12, 2019). "Film News Roundup: Gravitas Buys Seann William Scott Drama Already Gone". Variety . Retrieved 18 January 2023. N'Duka, Amanda (April 25, 2019). "Angela Bassett Joins Lena Headey & Karen Gillan In 'Gunpowder Milkshake' ". Deadline Hollywood. On December 16, 2019, it was announced that Frank Ilfman was hired to compose the film's score. [18] The score album was released on July 14, 2021, by Milan Records. [19] Release [ edit ] Netflix and theatrical [ edit ] Dolby TrueHD/Atmos Audio German 3995 kbps 7.1 / 48 kHz / 3355 kbps / 16-bit (AC3 Core: 5.1 / 48 kHz / 640 kbps) To conclude, this movie is terrible. Please Netflix, I'm begging you, there are so many talented writers and directors out there clamoring for a shot. You have the power to make GOOD movies, so use it.

Christopher Marc (February 11, 2019). "EXCLUSIVE: Oscar-Nominee Viggo Mortensen Offered Role In 'Gunpowder Milkshake' – Plus Character Breakdowns/Plot Details". HN Entertainment. Hybrid Network LLC . Retrieved August 14, 2021. If everyone is super cool, and super deadly, and super nonchalant, then you need to put even more work into making the characters stand apart. They'll need specific quirks, competing goals, faults and obsessions, some key nub of characterization even if its superficial (a guy with one eye he's insecure about it, etc.). With Gunpowder Milkshake, there's nothing to work with. The screenwriters made this so much harder on themselves. I guess we're merely supposed to be won over by the casting and the imagery of these bad ladies holding powerful weaponry. The protagonist is boring. She is the familiar hired killer who grows an inconvenient conscience. That's an acceptable starting point but the moral growth is hindered when her young charge, the little girl that forces her paradigm shift, wants to be her apprentice to learn to kill people. The fraught mother/daughter relationship resorts to a lot of "I didn't want this life for you,""It's the only life I've known" roundabout conversations, and neither furthers our understanding of either side. Gunpowder Milkshake was released in France digitally on October 21, 2021, and on Blu-ray, and DVD on November 3 by StudioCanal with distribution handled by Universal Pictures Vidéo France. [28] On television, the film premiered on Canal+ on January 22, 2022, and was released simultaneously on streaming on MyCanal. [29] In February 2020, STXfilms acquired distribution rights to the film in the United States. [20] In April 2021, Netflix bought the American distribution rights from STXfilms. [21] Gunpowder Milkshake was released on Netflix in the United States, Canada, and the Nordic countries on July 14, 2021. [22] In the United States, it also received a simultaneous limited theatrical release. It was the most watched film of the week in the country upon its release, according to Nielsen. [23]Kit, Borys (May 6, 2019). "Paul Giamatti Joins Karen Gillan in Assassin Thriller 'Gunpowder Milkshake' (Exclusive)". The Hollywood Reporter. Picard, Sylvestre (May 25, 2021). "Karen Gillan et Lena Headey flingueuses de mère en fille dans le trailer de Bloody Milkshake". Première (in French) . Retrieved August 16, 2023. If the barebones of Gunpowder Milkshake sound a little dug up then even the flesh that’s been added gives off a musty whiff, from the double-crossing bosses to the fetishistic obsession with guns to the eye-rolling decision to humanise an assassin with the addition of a cute child, a particularly tiresome genre trope. But while there’s barely a second you won’t be able to predict, films such as this live and die by the quality of their action set pieces rather than their inventive plotting and Papushado is, if nothing else, a skilled stage manager. The bright, flashy aesthetic means that the sequences have a rare easy-to-follow clarity often missing in the murk of other action films and while the downside is that this often highlights the budgetary restrictions, it makes for an undeniably immersive experience. The almost two-hour runtime is a little overambitious given the thinness of the material but Papushado overstuffs his film with action, appealing to thirsty Friday night audiences eager for non-stop spectacle (a deftly shot diner shootout in the final act is particularly impressive). With all that being said, there are moments of bloody fun that can be enjoyed. There's a middle portion of the movie that gave me hope the film had transformed. At one point, Sam is indisposed and unable to use her arms, which dangle without any muscle control. She's about to be beset by angry if bruised bad guys and must plan what to do. The resulting clash is a burst of creative choreography and an excellent demonstration of Sam's resourcefulness and drive. Watching her dispatch a dozen armed men so indifferently, always knowing where and when to turn and dodge is not nearly as entertaining or engaging as watching her struggle and solve a problem. This sequence is extended and makes clever use of its location and the elements that would be available. Then we go a step further, as Sam and her youngster must drive a car to flee except the uncontrollable arm problem persists. Sam will pump the pedals and give directions while Emily sits on her lap and turns the steering wheel. This made me excited. We had organic complications and potential solutions that involved both characters having to rely upon one another. That is solid screenwriting and finding a way to spice up an ordinary parking garage chase sequence. By the end of this sequence, my hopes started to dwindle because Sam reverted to her earlier super cool, impervious version. She knew every exact move to make, and the small-scale car chase started losing my interest even with the extra driving dynamic. I wish the filmmakers could analyze how these sequences differed to better harness that creative surge.