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Like a series of Monet paintings come to life, the historical drama “The Guardians” luxuriates in lush, widescreen images of the French countryside. World War I is raging elsewhere, but this segment of the country remains unspoiled and fertile—thanks to the hard work of the women who’ve been left behind to manage the family farm while their husbands, brothers and sons are off fighting, and sometimes not coming back.

Director and co-writer Xavier Beauvois takes his time introducing us to this place and these people. His pace is unhurried, allowing us to breathe in and appreciate the beauty of the painterly light as it bathes the trees, wheat fields and hillsides in a colorful glow (the work of cinematographer Caroline Champetier , who also shot “ Holy Motors ” and Beauvois’ “ Of Gods and Men ”). We catch a glimpse of the horrors of war at the very beginning as he pans silently across a battlefield, with lifeless bodies strewn about in the mist. But Beauvois is far more interested in how the loved ones of those men struggle to continue living. He has made an intimate epic, as contradictory as that sounds.

The director, who currently has a juicy supporting role as Juliette Binoche ’s arrogant, married lover in “ Let the Sunshine In ,” is far more respectful and appreciative here of the many crucial roles women play. And in Nathalie Baye , Laura Smet and newcomer Iris Bry , he has three very different actresses through whom to explore the film’s themes. (Beauvois wrote the script with Marie-Julie Maille and Frederique Moreau, based on Ernest Perochon ’s 1924 novel “Les Guardiennes.”)

Part of the allure of “The Guardians” comes from the casting: The radiant, real-life mother and daughter Baye and Smet play mother and daughter Hortense and Solange. The year is 1915, and both of Hortense’s sons have been away at war, as has Solange’s husband. All three men come and go over the course of the film, but the ladies require more consistent help year-round, with dreams of modernizing their operation looming wistfully in the distance. (This may be a spoiler, but you’ll never see another movie featuring not one but two scenes of characters reacting joyfully to the arrival of a tractor.)

They get some much-needed assistance when the bank in the nearby village sends them 20-year-old farm laborer Francine (Bry) instead of the loan they’d sought to buy new equipment. With her blazing red hair and milky, fair skin against a backdrop of the farmhouse’s bright blue door, Francine stands out from the moment she arrives, and she’ll eventually serve as the catalyst that shakes things up for the whole family. (You could think of “The Guardians” as a really sad, really slow version of “Tully.”)

Francine takes her cues from the steely Hortense: milking the cows in the morning, harvesting wheat in the afternoon and casting seeds about at dusk. When winter comes, she splits logs in the blindingly sunlit snow. Beauvois lingers over the minutiae of these moments, allowing us to focus on the arduousness and monotony of the tasks, with the sounds of the work creating a rhythm. If you’re interested in movies about process, or people doing their jobs well, you’ll be enthralled.

When the men do return on leave for brief periods, they don’t speak of the violence they’ve endured, but they’re clearly changed. “The Germans are people like us,” Solange’s husband, Clovis ( Olivier Rabourdin ), informs his family over dinner—teachers and farmers like them.

But the more dramatic shift in the film occurs with the return of Hortense’s hunky, flirty son Georges ( Cyril Descours ), who takes an instant interest in Francine. Quiet but confident, she initially won’t succumb to his advances, even though he’s using every trick in the book to seduce her: “I’m leaving  tomorrow . I may not come back.”

A romance eventually blossoms between Francine and Georges, though, as the years pass. (The title card for 1917 is especially striking with its purple, misty sense of melancholy.) And the melodrama that ultimately accompanies it becomes the film’s downfall. While it’s fascinating to watch Francine as she ages and claims her feminine strength, the flimsy misunderstandings and hurt feelings that come to characterize her—and her relationship with Georges—grow tedious. Along those lines, a slow-motion nightmare of war violence that plagues Georges in his sleep feels out of place compared to the understated calm that marks the rest of the film.

Still, “The Guardians” maintains an underlying focus on humanity, in all its complications during a time of great distress. You think people are deeply decent but then they completely botch the handling of something important. Everyone is damaged and the rules no longer apply. That messiness is interesting.

And Bry has a consistently beguiling screen presence. With expressive looks reminiscent of a silent film star, she has a clarity and a directness about her that are hugely appealing. You know her character will find her way in the world, even when the film loses its own.

Christy Lemire

Christy Lemire is a longtime film critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series "Ebert Presents At the Movies" opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Love Questionnaire here .

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The Guardians (2018)

Rated R for some violence and sexuality.

138 minutes

Nathalie Baye as Hortense

Laura Smet as Solange

Iris Bry as Francine

Olivier Rabourdin as Clovis

Cyril Descours as Georges

Gilbert Bonneau as Henri

Nicolas Giraud as Constant Sandrail

Mathilde Viseux as Marguerite

• Xavier Beauvois

Writer (novel)

• Ernest Perochon
• Marie-Julie Maille
• Frédérique Moreau

Cinematographer

• Caroline Champetier
• Michel Legrand

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Suicides, graphic violence in creepy supernatural horror.

A Lot or a Little?

What you will—and won't—find in this movie.

No positive messages.

Lead character, a backup singer for a pop star who

Vietnamese supernatural horror movie offers some g

A young woman commits suicide in a bathtub by slit

Two characters kiss, sleep together (no nudity).

Occasional profanity: "bulls--t," "s--t," "bastard

Characters discuss Vifon Ramen in one scene.

Abusive father of lead character drinks booze. Cha

Parents need to know that The Guardian is a 2021 Vietnamese supernatural horror movie in which a backup singer seeks the help of supernatural forces to find fame and love. In the opening scene, a pop star commits suicide by slitting her wrists in a bathtub, seemingly at the behest of a creepy doll with…

Positive Messages

Positive role models.

Lead character, a backup singer for a pop star who has just committed suicide, makes a series of requests to a supernatural doll in the hopes of finding love and fame.

Diverse Representations

Vietnamese supernatural horror movie offers some glimpses into Vietnamese culture.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

A young woman commits suicide in a bathtub by slitting her wrists, seemingly at the behest of a doll. Her body is shown in bloody water, the scar where she slit her wrist shown. Quick shot of young woman slitting wrist at a table in a fancy restaurant. The reason the young woman commits suicide is because she's shown in a sex tape with three men after they drugged her. Another character found dead in a bathtub, talk of how they had a history of drug abuse, another bloody bathtub. Character jumps off a balcony to her death. Dead bodies found with slit wrists. A father punches his daughter after he learns that she's making a living as a back-up singer for a pop star. Baby bird head sliced off. Cut finger, blood. Character hit by a car. Demonic imagery. Jump scares.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Occasional profanity: "bulls--t," "s--t," "bastards," "damn," "hell."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Drinking, drugs & smoking.

Abusive father of lead character drinks booze. Champagne, wine, alcohol drinking in nightclubs. Character shown being drugged by men who want to take advantage of her and make a sex video to post online.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that The Guardian is a 2021 Vietnamese supernatural horror movie in which a backup singer seeks the help of supernatural forces to find fame and love. In the opening scene, a pop star commits suicide by slitting her wrists in a bathtub, seemingly at the behest of a creepy doll with supernatural powers. Her body is found in bloody water, her bloody scar shown. Another character is found dead in a bloody bathtub, and another commits suicide by jumping off of a balcony. Another character is struck by a car and injured. The reason the pop star committed suicide was because she had been drugged by three men and filmed in a sex video with them that was starting to go viral. Character shown being drugged at a nightclub. A father punches his daughter upon learning that she works as a backup singer. Baby bird's head sliced off with a knife. Lead character cuts finger with a knife -- blood. Two characters kiss, sleep together (no nudity). Occasional profanity, including "s--t." Champagne, wine, and alcohol drinking. Demonic imagery. Jump scares. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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What's the Story?

In THE GUARDIAN, Lam Phuong (Salim) is a young pop star found dead in her bathtub of an apparent suicide. The reason she took her own life was because she was drugged by three men in a nightclub, who then took advantage of her and made a sex video that was starting to go viral. She's also discovered to be with a Kumanthong doll, leading some to speculate that the doll and the black magic surrounding it had something to do with her death. In the aftermath of Lam's suicide, Ly (Truc Anh), one of Lam's backup singers, finds herself possibly on the verge of the fame and success that had been out of reach. Ly finds herself in possession of a Kumanthong doll, and begins making wishes to it -- everything from desires for pop stardom to a romance with manager and Lam's ex-lover Khanh. But fame and success aren't all that they're cracked up to be, and Ly's requests of the Kumanthong doll go in an increasingly vengeful and violent direction. Ly must find out what's really happening with this doll that's increasingly taking control of her life, and must choose what's really important in life.

Is It Any Good?

This is an overlong, melodramatic supernatural Vietnamese horror movie on the perils of fame and fortune. The Guardian centers on creepy dolls and the aspiring pop stars who make wishes and present sacrifices to them, and at over two hours long, still manages to squeeze in scenes of pop music performances with dance sequences, a love affair, and some other side stories that would've been better off on the cutting room floor. There's a high quality to the direction, cinematography, acting, and overall style, but none of this can compensate for a padded story, and a shopworn "creepy doll horror movie" story at that. The plot twist/big reveal isn't bad, but it comes across as forced as the movie's overall messages about success in the music industry being not all it's cracked up to be.

Indeed, the movie's comments on said fame and fortune grow increasingly tiresome. 1980s afterschool specials about Satanism and/or underage beer drinking are less heavy-handed than this, and, to their credit, '80s afterschool specials didn't resort to creepy dolls and ugly sacrifices of baby birds to make their points. There's a feeling throughout The Guardian that it should be better than it is. With a bit more editing, it might have been a decent supernatural horror story rather than a weird melodrama with creepy images and suicides. That said, if the movie's purpose is to make those younger viewers who are considering a career in pop stardom to maybe find another line of work on LinkedIn, it's successful enough in that regard, but as an attempt at a supernatural horror story, it falls short.

Talk to Your Kids About ...

Families can talk about supernatural horror movies like The Guardian . How does the movie use supernatural forces to try to create scares?

How does the movie address issues like suicide and victims of cyberbullying and exploitation?

What messages do you think the movie was trying to communicate about the perils of fame and fortune, and society's obsession with these?

Movie Details

• In theaters : April 30, 2021
• On DVD or streaming : December 16, 2021
• Cast : Truc Anh , Amee , Salim
• Director : Victor Vu
• Studio : Netflix
• Genre : Horror
• Run time : 127 minutes
• MPAA rating : NR
• Last updated : June 20, 2023

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The Guardian – Netflix Review (2/5)

Posted by Karina "ScreamQueen" Adelgaard | Dec 16, 2021 | 3 minutes

THE GUARDIAN (2021) on Netflix is a new horror-thriller from Vietnam (org. title Thiên Than Ho Menh ). At just over two hours, the runtime is way too long. Production quality is high though. Read our full  The Guardian Netflix movie review here!

THE GUARDIAN (2021) is a new Netflix horror thriller. The story features a doll (or several dolls), which is hardly anything new. However, the part these dolls ultimately play in the movie is quite different.

To me, the real issue of this new Vietnamese horror movie (org. title Thiên Than Ho Menh ), is the slow pace. Also, you should prepare for a few songs throughout this movie. A few of the key characters are singers, so it does happen naturally. But it takes up way too much time for my liking.

Continue reading our The Guardian Netflix movie review below.

Too slow and way too long

As a huge fan of South Korean genre films, I have also watched a few movies from other Asian countries that work remarkably well. The Vietnamese movies, I’ve seen so far on Netflix, have not been all that great.

YOU COULD CHECK OUT Our Netflix review of the Vietnamese horror movie Conjuring Spirit  here >

While the production quality is truly impressive with The Guardian (2021), it just doesn’t have enough story for its runtime. And at just over two hours, the runtime is way too long .

Or rather, the slow pace combined with a long runtime is what made it much less enjoyable for me. I did like some of the twists towards the end. However, I do not need a good 10-15 minutes of various flashbacks to help explain these twists.

Watch  The Guardian  (2021) on Netflix now!

Victor Vu is the director of  The Guardian which was written by himself along with Kay Nguyen ( Furie ). Victor Vu is a Vietnamese-American film director who already has quite a lot of movies on his IMDb resume. I can’t claim that I’m familiar with them, but some of them seem to have similar themes.

Also, as much as I enjoyed some of the twists, I absolutely loathed the final “message”. Essentially, it seems to be shaming young girls into focusing on school instead of chasing their dreams. Not a bad message in itself, but a total victim blaming angle in this particular case.

By now, everyone should know that the whole “if girls just behave, they will be safe”-message is absolute nonsense. As a horror movie, it did have a few moments that made me jump a little. As a thriller, it was hardly very thrilling. Overall, I just wasn’t really entertained by this one.

The Guardian  (org. title Thiên Than Ho Menh ) is out on Netflix from December 16, 2021.

Director: Victor Vu Writers: Victor Vu, Thi Nga, A Type Maxhine, Binh Bong Bot Stars: Amee, Trúc Anh, Salim, Samuel An, Trong Trinh, Thanh Thuy

A tragedy surrounding a pop star propels her backup singer to fame, but the new star is plagued by supernatural occurrences.

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About The Author

Karina "ScreamQueen" Adelgaard

I write reviews and recaps on Heaven of Horror. And yes, it does happen that I find myself screaming, when watching a good horror movie. I love psychological horror, survival horror and kick-ass women. Also, I have a huge soft spot for a good horror-comedy. Oh yeah, and I absolutely HATE when animals are harmed in movies, so I will immediately think less of any movie, where animals are harmed for entertainment (even if the animals are just really good actors). Fortunately, horror doesn't use this nearly as much as comedy. And people assume horror lovers are the messed up ones. Go figure!

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The Guardian Parent Guide

After a tragic accident kills his crew, Coast Guard veteran Ben Randall (Kevin Costner) is reassigned to teach at the department's elite training school. Yet even in the classroom, Ben discovers someone who needs saving--a cocky recruit named Jake Fischer (Ashton Kutcher). Moments of peril and some off-duty antics may endanger this film's suitability for some viewers.

Release date September 28, 2006

Run Time: 139 minutes

Get Content Details

The guide to our grades, parent movie review by kerry bennett.

While countless employees are content to swim around in the office shark tank, there are a few—-and only a few—-willing to put their lives on the line for others. The Coast Guard Rescue Swimmers are a part of the select group.

Jumping into towering ocean waves to retrieve stranded sailors, these specially qualified men and women ignore their own safety and comfort in favor of complete strangers. They train, work and breathe by the motto “So Others May Live.”

Jake Fischer (Ashton Kutcher) is a cocky high school record holder who’s out to prove what he can do in the pool. More interested in setting times and hitting on girls than saving lives, the young hot shot needs a strong hand to guide him. Luckily Ben’s unconventional, hard-nosed tutoring methods and his willingness as an instructor to go the extra mile prove to be just what the student needs.

However, the real test comes when Jake is sent out on his first solo mission in the frigid waters off the coast of Alaska. Hovering in a helicopter over the turbulent waters, the new graduate puts his skills to trial.

Although both men are stellar during a crisis, in their off-duty hours they face personal challenges. Ben’s marriage to Helen (Selma Ward) is failing and Jake is involved in a casual relationship with a schoolteacher (Melissa Sagemiller) that revolves around frequent, casual sex with no commitment. Unfortunately the sexual antics, some profanities including a strong sexual expletive and the men’s frequent drinking habits, are distracting sidelines to these swimmers’ otherwise heroic actions.

Still, for older audiences, the willingness of Ben Randall and the new cadets to retrieve the stranded, the injured and even the foolhardy, provides a strong example of committed service. The film also invokes a greater appreciation for the real life guardians of the sea who put it all on the line when a distress call comes in.

About author

Kerry Bennett

The guardian rating & content info.

Why is The Guardian rated PG-13? The Guardian is rated PG-13 by the MPAA for intense sequences of action/peril, brief strong language and some sensuality.

The students and teachers at the Coast Guard’s school work hard and drink hard, although the lingering effects of alcohol seem to disappear when they respond to a crisis call. During a rescue attempt, a helicopter explodes killing several crewmembers, severely burning another and pulling a man underwater. Numerous dead bodies are seen. Casual sex is portrayed between two young adults. Profanities, along with a strong sexual expletive, and brief sexual comments are included.

Page last updated February 13, 2012

The Guardian Parents' Guide

What impact can a rescue worker’s job have on his or her family? What personal strain might be caused when these personnel have to make life or death decisions?

What teaching techniques does Randall employ to weed out the weaker candidates at the training school? Are these methods too harsh or are they necessary for the job?

Randall and Fischer do more than save people from the ocean. In what ways do they rescue one another? What does Randall mean when he tells the cadets to “honor your gift, save the ones you can and let the others go”?

Maggie, the bartender, says getting old is earned. What does she mean? How does she feel about her wrinkles and graying hairs? What lessons does age bring?

The most recent home video release of The Guardian movie is January 22, 2007. Here are some details…

The Guardian splashes down on DVD with an alternate ending (introduced by director Andrew Davis) and an audio commentary (also with director Andrew Davis). Two featurettes are included as well: Making Waves (the making of The Guardian ) and Unsung Heroes (a tribute to the real-life Coast Guard Rescue Swimmers). Audio tracks are available in English, French and Spanish (all Dolby Digital 5.1 Surround), with subtitles in French and Spanish.

Related home video titles:

A group of sailors get caught in The Perfect Storm when a dying hurricane collides with two other weather systems off the eastern coast of the United States. When one of their own is trapped in a burning building, firefighters take gallant measures to rescue their colleague in Ladder 49 . The 1951 movie The Frogmen tells the story of another elite group of swimmers who were a vital part of the World War II fighting effort.

Related news about The Guardian

8 Kevin Costner Movies You Won’t Want to Miss

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• DVD & Streaming

The Guardian

• Action/Adventure , Drama

Content Caution

In Theaters

• Kevin Costner as Ben Randall; Ashton Kutcher as Jake Fischer; Melissa Sagemiller as Emily Thomas; Clancy Brown as Capt. William Hadley; Sela Ward as Helen Randall

Home Release Date

• Andrew Davis

Distributor

• Disney/Buena Vista

Movie Review

Senior Chief Ben Randall is way past the prime of his stellar career as a U.S. Coast Guard rescue swimmer. The missions are no longer smooth sailing for the highly decorated daredevil. And even his personal life is becoming waterlogged as his wife packs up and moves out. But when a stormy high seas rescue goes wrong—destroying the helicopter, killing his crew and leaving his best friend dying in his arms—the world finally comes crashing in on the weather-beaten man.

His captain strongly suggests that he take a break and teach as an “A” School rescue swimmer instructor. Randall reluctantly agrees.

As his trainees struggle to stay afloat, one recruit rises to the top. Jake Fischer is a former swimming champion with a lot of attitude and a troubled past. Randall recognizes a bit of himself in the young man and eventually takes him under his wing. With time and exhausting work, the team begins to gel. However, as the recruits find their way, Randall worries that he might not find his way back to the job he so desperately loves.

Positive Elements

The Guardian is all about brave men and women who are willing to risk their lives in order to save others’. Randall’s wisdom, humility, tough love and servant leadership are outstanding. He doesn’t demand respect; he earns it. For example, after icing down a pool to give the newbies a crash course in hypothermia, he freezes right along with them. No sacrifice is too great. He’s a real pro and a father figure to Fischer, and in time turns the young man into a strong leader.

Randall and Fischer are both shown rescuing people in the most harrowing of conditions. One scene has Randall jumping into gigantic crashing waves—battling a furious storm that has already sunk a ship and claimed a half-dozen lives—in the hopes of saving one nearly-frozen boy. In another, Fischer refuses to leave a trapped man below deck in a sinking ship.

The story is told of the senior chief saving 20 people from a doomed medical transport. With the last man, the helicopter winch jams and Randall, dangling from the line, has to hold the man with one hand all the way back to base. He tells him, “I won’t let go,” which becomes Randall’s credo (and Fischer’s) for all future rescues. [ Spoiler Warning ] At the end of the film, Fischer and Randall are in a similar situation, swinging from a fraying winch cable. Fischer tells him, “I won’t let go.” Randall deliberately loosens his glove and drops 80 feet into the churning sea in order to save the younger man.

The movie also speaks of teamwork and unswerving dedication. Randall tells his recruits that the only way “we work is as a team,” and that in the face of impossible odds while rescuing others, “You have to find a way to be that miracle.” Fischer keeps pressing Randall for a number (meaning the number of people he’s rescued); finally Randall says, “22.” Fischer shows surprise that it’s that low, but Randall continues, “That’s the number I lost. The only number I kept track of.”

Spiritual Elements

No film in recent memory has reflected the noble self-sacrifice described in John 15:13 as well as The Guardian . “You get to save lives,” Randall preaches, “And there is no greater calling in the world than that.” Another trainer says, “When the Holy Lord Himself reaches down from heaven with winds that rip houses off the ground, we go out.” (Incidentally, “Acts of God” get several mentions.) In a perilous moment a helicopter crewman says sincerely, “God help you.”

Sexual Content

Fischer dares his friends to pick out the hottest girl in the bar and bets them that he can take her home. And even though the girl (Emily) is reluctant to get involved (“Every 18 weeks a new bunch of you guys are looking to score with the local talent”), she is eventually swayed by his charm.

They find themselves hopping into bed pretty early on, despite (or is it because of?) Fischer’s teasing: “You’re gonna have to stop undressing me with your eyes. ‘Cause there’s no way you’re getting me into bed.” Emily makes it clear that she’s OK with a physically intimate relationship as long as they avoid commitment and all meaningful conversation. “You want casual,” Fischer replies. “I’m a guy. I can do casual.” (He can’t, of course, but the deeds have already been done by the time he figures that out.)

Those deeds involve us seeing her in a robe and him bare-chested in her bed—afterwards. Later, they’re in bed again, fawning over each other and diving under the covers for more. (Their banter includes a few mild sexual innuendoes and double entendres.)

Emily wears low-cut tops. A very muscular recruit strips off his shirt for the camera. After a freezing cold training exercise, the recruits are all shown naked in a hot shower. (The camera doesn’t dip below their waists.) An older female friend of Randall’s says that the only reason she can look back with fondness on her life is that she “drank, smoked and screwed” her way through it. A snide, gay-themed jab is thrown out after we witness Fischer teaching another recruit how to break a panicked swimmer’s death grip. Another one is flung at a man who tries to stand up for someone.

Violent Content

The rescue scenes often get intense as the lives of everyone involved are constantly threatened. Ships burn, explode and sink. The Coast Guard helicopter crashes, burns and sinks. In an agonizing sequence, it then drags a boy to his death because he’s inside the rescue basket which is still attached to the winch. A man is shown with a horribly burned face. Dead bodies are seen floating on the water.

Struggling to survive in rough water, a man almost drowns his wife in his panic and Randall must punch him and knock him out in order to save them. During a training exercise, a recruit does much the same thing to a trainer in order to break his stranglehold. There’s a discussion of an accident that killed a car full of young men.

When Navy sailors contemptuously pour a beer over Fischer’s head, a bar fight erupts. Fischer and a buddy are later shown bruised and bloodied in a jail cell. Instead of disciplining Fischer, Randall takes him back to the bar for payback. (Mitigating circumstances include the fact that Randall had been trying to unearth Fischer’s buried sense of teamwork and camaraderie—and the brawl was spawned by his sticking up for a friend and for the Coast Guard.) Still, the scene shows Randall hitting a man and then slamming his head several times into the top of the bar. Elsewhere, Fischer has to be separated from another recruit when their pushing and shoving nearly turns to blows.

Crude or Profane Language

Four or five s-words. One f-word. Milder profanities (including “a–,” “h—” and “d–n”) pop up at least a dozen times. There are two misuses of Jesus’ name. And God’s name is combined with “d–n” on several occasions.

Drug and Alcohol Content

The recruits and trainers are shown in numerous bar, party and casual scenes drinking beer and hard alcohol. It’s implied that Randall downs whiskey along with his prescription pain medication.

Other Negative Elements

Randall and his wife are going through a difficult time in their marriage. That’s not a negative element; that happens to almost everybody at some point. But they choose to solve their problems by separating and signing divorce papers—even though it’s obvious that they still care for each other.

The Guardian is a nicely acted, well directed, bits-and-pieces blend of a number of movies we’ve seen before ( Top Gun, The Perfect Storm and An Officer and a Gentleman among them). So there’s no new revelations in watch a grizzled pro teach cocky upstarts the ropes. That not to say the rescues at sea aren’t cool—even if the boats all look like they’re pivoting mechanically amid CGI waves and overactive dump tanks.

Chest-thumping hoo-rah moments, partially undressed romance, a smattering of foul language and a beer-tipping bar brawl mean this is a genuine, Grade A formula action pic. It also means families will be forced to gasp for air more than few times if they choose to watch it.

And that’s too bad. Because The Guardian also embraces something we haven’t seen in a while. It’s a movie about sacrifice. And not just the sacrifice Peter Parker makes when he dons his Spider-Man costume, either. This is a film that gives a face to the real people out there who put others first. Someone who’s willing to die to save another. It’s a film that gives a face to and pays tribute to the very real men and women who live and die by the motto “So Others May Live.”

After spending more than two decades touring, directing, writing and producing for Christian theater and radio (most recently for Adventures in Odyssey, which he still contributes to), Bob joined the Plugged In staff to help us focus more heavily on video games. He is also one of our primary movie reviewers.

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Published 2022-04-21T03:47:33.569Z Updated 2022-06-02T02:03:56.141Z

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The Guardian Five Star Reviews (Updated Weekly)

This list consolidates all The Guardian Five-Star Reviews since 2014, the list is updated as new 5-star reviews are added.

It includes all reviews PUBLISHED after 2014, not necessarily when the movies were released.

Find all the latest reviews in full here: www.theguardian.com/film/film+tone/reviews

Updated Weekly

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THE GUARDIAN

"selfless devotion to duty".

	None	Light	Moderate	Heavy
Language
Violence
Sex
Nudity

What You Need To Know:

(BB, Ro, PPP, L, VV, S, A, D, M) Strong moral worldview stresses selfless devotion to duty in order to help others in need, with some Romantic elements and very strong patriotic, pro-American content, but no references to God; five or six obscenities, including one emphatic use of the “f” word, and two profanities; strong action violence includes barroom violence between branches of the armed services and intense scenes of rescue training and water rescues (with some blood); unmarried couple twice shown in bed, implied fornication; shoulders exposed but no graphic nudity; alcohol use on more than one occasion; smoking; and, gambling and wife leaves husband.

More Detail:

THE GUARDIAN is the story of a celebrated Coast Guard rescue swimmer who is forced to teach a class of swimmer recruits. Kevin Costner stars as Ben Randall, a swimmer who regularly risks his life and his marriage to save others. The movie is strongly patriotic, portraying Coast Guard members as devoted to saving every life they can, but it fails to deal with the Author of selflessness.

The movie opens by establishing that Randall is terrific at saving lives but is unable to save his marriage. His wife (played by Sela Ward) leaves him because he has no time for her. Even as he pleads for another chance, he is called back for another rescue. This time things go horribly wrong, and he is left the sole survivor of his rescue crew, complete with emotional and physical injuries. He is taken off active rescue duty and assigned to become an instructor at the Coast Guard’s elite “A” school for rescue swimmers.

There, Randall is challenged by a cocky young recruit Jake Cummings (played by Ashton Kutcher) who is determined to break his records. Randall uses unorthodox methods to weed out and prepare his recruits for the real world of rescue work. Randall proceeds to mold Jake into a man who can focus more on saving lives than on setting records.

Sadly, the central story is embellished with Randall’s dysfunctional marriage leading him to drink (apparently a requirement for getting Costner into a movie) and with his prime student’s foray into alcohol, fornication and fighting. Apparently, one cannot be a good husband and a rescue swimmer.

The movie is well made. The acting is good. The action is occasionally riveting. The language is mild for a modern movie dealing with a branch of the armed services. The filmmakers are to be commended for a patriotic presentation of Coast Guard swimmers whose motto is “So Others May Live.” But, it’s like a loaf of bread that doesn’t rise. Without God’s love as the motivating yeast, the unselfishness portrayed looks one dimensional, flat as a cracker. The main characters are supposedly motivated by emotional experiences in their past and only motivated as swimmers. The same men devoted to saving lives can bash in the face of members of another branch of the armed services.

The intensity of the rescue footage makes this movie is unsuitable for young children. Teenagers and adults may enjoy the patriotic aspects of the movie but the media-wise family will take time to discuss how, by relying on God’s unselfish love, members of the Coast Guard could save lives, have sound marriages and live without relying on alcohol.

'Inside Out 2' review: The battle between Joy, Anxiety feels very real in profound sequel

For teens, those who aren't yet teens, and anyone who was once a teen, the Pixar sequel “Inside Out 2” hits like an amusing, profound wrecking ball.

The original animated 2015 comedy “Inside Out” took audiences into young girl Riley’s complex mind and showcased a bevy of colorful emotions trying to keep it together for the kid’s sake, crafting an uncannily relatable movie in the process. Directed by Kelsey Mann, the next chapter (★★★½ out of four; rated PG; in theaters Friday) grows up alongside the newly minted teen and imagines the internal struggle, for all of us, when anxiety takes control.

The first "Inside Out" ended with Riley turning 12, and the sequel catches up with her (now voiced by Kensington Tallman) – as well as her core emotions Joy ( Amy Poehler ), Anger (Lewis Black), Sadness (Phyllis Smith), Fear (Tony Hale) and Disgust (Liza Lapira) – a year later. Riley has gone through a growth spurt, got braces (Disgust must have loved that day) and two besties, plus is a hockey star.

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The high school coach (Yvette Nicole Brown) sees her play and invites her to a skills camp – do well there and she could be playing as a freshman beside her super-cool idol Val Ortiz (Lilimar). The night before, however, Riley’s mind is thrown into disarray when Joy and Co. notice the red “puberty” button flashing and a demolition crew arrives to make way for new emotions. With frizzy hair and big plans to change things around, Anxiety ( Maya Hawke ) is the leader of this bunch that also includes precocious Envy (Ayo Edebiri), disinterested Ennui (Adele Exarchopoulos) – or, as she calls herself, “the boredom” – and painfully shy Embarrassment (Paul Walter Hauser).

The major friction within the first movie – Joy needing to find a way to deal with Sadness – seems like small potatoes compared to a battle over Riley's entire belief system. As the girl is forced to choose between hanging with her friends or making new ones like Val, Anxiety pulls a coup, ditching the conflicted youngster's Sense of Self and exiling Joy's old emotions to the back of Riley’s mind with a mountain of bad memories.

“Inside Out 2” frontloads the funny bits and then wallops you in the final act, which ambitiously depicts the desperate hopelessness when anxiety has a hold and won’t let go. (“I don’t know how to stop Anxiety," Joy says, one of the truest things you’ll ever hear in an animated fantasy.)

The middle is where it loses focus, as Joy’s group goes on a mission to set Riley right before it’s too late. The original movie took a similar tack but did it better, and the sequel misses a real chance to flesh out the intriguing new emotions more. Aside from Anxiety, a truly inspired Disney antagonist, they feel more like side characters than Anger, Fear, Disgust and Sadness did in the first outing.

The way these movies artfully create a connection between real life and a fantastical inner existence is still top-notch. Every parent of a tween or teenager will feel seen via a construction sign that reads “Puberty is messy” and get a kick out of Mount Crushmore, part of a revamped Imagination Land. And while there’s no Bing Bong around this time, the introduction of preschool cartoon canine Bloofy (Ron Funches) and the scene-stealing Nostalgia (June Squibb) showcase that signature “Inside Out” cleverness in its personalities.

Pixar has rightfully taken knocks for sequels and prequels that don’t hold up to the beloved originals. Recent films like “Turning Red,” “Luca” and “Soul” have the novel spark that's missing from, say, “Monsters University,” “Cars 3” and “Lightyear.” But “Inside Out 2” is one of the better revisits in the studio’s history because of how well it knows its audience.

Who hasn't felt anxiety getting the better of joy or a natural connection between sadness and embarrassment? With empathy, hope and a heap of metaphors, it's a matured "Inside Out" that still understands the wonders and wrinkles of being a kid.

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Reviewing the Reviews: 'The Guardian'

Does The Guardian sink or swim? Does it stay afloat or end up waterlogged? There: I’ve now used up most of the puns needed to write a review of the new Kevin Costner-Ashton Kutcher Coast Guard adventure. Critics reviewing the film today indulged in soggy cliches, but then, many of the reviewers say, so does the movie. Most noted its similarities to other grizzled-vet-trains-cocky-upstart movies, like An Officer and a Gentleman and especially Top Gun . (One wag dubbed The Guardian ”Squirt Gun,” and another called it ”Top Snorkel.”)

Many critics were also unable to resist comparisons to Costner’s last ocean epic — that includes EW ‘s own Lisa Schwarzbaum, who wrapped her review by observing, ”There’s something endearing about the rugged leading man’s constant pull toward square sagas, but really: gills? Again?” The headline on the review by The New York Post ‘s Kyle Smith screamed, ”YEAH, IT’S THAT BAD! REMEMBER THE LAST TIME KEVIN COSTNER MADE A WATER MOVIE?”

In case you didn’t know which all-wet Costner movie I’m talking about, the nation’s most influential critics (at least, while Roger Ebert is on sick leave) will spell it out for you. The Chicago Sun-Times ‘ Richard Roeper ends his review by saying, ”Still, The Guardian isn’t the worst aqua-themed movie of Kevin Costner’s career. Not with Waterworld in his rearview mirror.” Writes A.O. Scott of The New York Times , ”You might have thought that, after the debacle of Waterworld more than a decade ago, Kevin Costner would be loath to leave dry land. But like his character, Ben Randall, a Coast Guard rescue swimmer, Mr. Costner just can’t stay out of the drink.”

addCredit(“The Guardian: Ben Glass”)

Some reviewers raised the Waterworld comparison only to shoot it down and then praised Costner’s performance. ”Costner, who hasn’t been this wet since he spouted gills in Waterworld , wisely underplays throughout. Even his Full Metal Jacket -style address to the new batch of recruits is surprisingly restrained,” writes Nick Chordas of the Columbus Dispatch . ”A decade after the commercial and critical flop Waterworld nearly drowned his career, Kevin Costner goes back to sea in The Guardian , and this time his dignity remains afloat,” says The Minneapolis Star Tribune ‘s Colin Covert. Writes Christopher Borrelli of The Toledo Blade , ”Though Costner spends much of his time in the water playing a former golden boy in the middle of a career rehabilitation, you’ll never once think, ‘Oh, what a sly commentary on Costner’s own career, especially Waterworld .”’

Lisa Rose of The Newark Star-Ledger noticed another similarity to an old Costner film, writing, ”While it doesn’t rank among Costner’s worst efforts, it still seems repetitious and formulaic, like The Bodyguard meets Waterworld .” The Boston Globe ‘s Wesley Morris also saw a link between The Guardian and The Bodyguard , prompting today’s funniest review, which includes a riff imagining a mash-up of the two movies:

”By far the most powerful moment in The Guardian comes at the end, when Kevin Costner drops Ashton Kutcher on the runway in front of Ashton’s private jet. Things between them had been rough, what with Ashton’s diva-driven tantrums and Kevin’s stoic determination to keep his famous client safe from the crazed killer hired to blow him up — at the Oscars. The airport scene is their goodbye. Ashton, wearing a head scarf that whips in the breeze, thanks Kevin for saving him. Kevin walks away. He hasn’t gotten too far, when Ashton calls out after him, running down the steps, along the jetway, and into Kevin’s arms, while on the soundtrack Ashton’s version of Dolly Parton’s…”

Mercifully, Morris stops there.

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The Guardian Reviews

A simple, predictable, and formulaic action flick.

Full Review | Original Score: 2.0/4.0 | Sep 9, 2020

The Guardian is ultimately a by the numbers movie that failed to hit big at the box office, seemingly lost to time. Various elements seem dated or unintentionally hilarious.

Full Review | Feb 6, 2020

When I left the theater, it was with not only newfound knowledge and respect for the men and women of our Coast Guard, but with a wave of excitement from the sheer excellence and entertainment of the film.

Full Review | Nov 6, 2019

As tiresome as it is drawn out.

Full Review | Original Score: 2/5 | Nov 3, 2018

There's nothing particularly wrong with it, it's just very tedious. Originality doesn't seem to be important and maybe it doesn't have to be as The Guardian is dealing with something true but what that something is the filmmakers seem to know.

Full Review | Original Score: 6/10 | Mar 22, 2011

Full Review | Original Score: 3/10 | Feb 9, 2011

"The Guardian" is a pro-military propaganda movie from Hollywood that attempts to mask its agenda behind the life-saving rhetoric of Coast Guard rescue swimmers.

Full Review | Original Score: C- | Apr 25, 2009

Full Review | Original Score: 2/5 | Nov 20, 2008

There is a breadth of quality about the acting, including a fine performance from Sela Ward as Ben's estranged wife - making a lot more of her role than her meagre scripting suggests.

Full Review | Original Score: 3.5/5 | Dec 7, 2007

Overly bloated action drama that is predictable and drawn out.

Full Review | Sep 16, 2007

Will definitely rescue some moviegoers from the post-summer doldrums, but someone should have told Davis that there's going to be casualities if he leaves audiences in the water that long.

Full Review | Mar 24, 2007

The Guardian isn't as boring as Annapolis and SWAT, but it's still a feature-length training montage about kids learning the importance of taking it to the limit.

Full Review | Mar 15, 2007

...an old-fashioned, irresistibly earnest piece of work...

Full Review | Original Score: 3/4 | Mar 10, 2007

A well-judged performance by Kevin Costner brings drama to this actioner.

Full Review | Mar 1, 2007

I'd have given it an A-. But it goes on & on, off the deep end into the even hokier. But since it choked me up earlier on, I'm calling it a weak B .

Full Review | Original Score: 2.5/4 | Feb 19, 2007

The Guardian is an ordinary movie about extraordinary people.

Full Review | Original Score: 5/10 | Jan 20, 2007

This character-driven drama about redemption feels fresh, mostly due to good storytelling and two fine lead performances

Full Review | Nov 24, 2006

a drama that's sometimes as generic as its title... (but)when they're not being forced to snarl at each other, Costner and Kutcher make a likable team...

Full Review | Original Score: 2.5/4 | Nov 24, 2006

full review in Greek

Full Review | Original Score: 2/5 | Nov 13, 2006

The film certainly comes across like a paid Coast Guard advertisement at times.

Full Review | Original Score: C | Oct 18, 2006

Jason Momoa and Jill Wagner in 'The Guardian': A review of the action thriller movie

Jason Momoa's standout performance and Jill Wagner's Mama Bear resilience drive 'The Guardian' , with seamless family dynamics and expertly executed action scenes by director Lin Oeding .

Cast chemistry and character dynamics

• Jason Momoa and Jill Wagner bring a seamless family dynamic to the screen, their previous collaborations enhancing their on-screen relationship. This chemistry is a cornerstone of the film, providing a believable and engaging emotional core that drives the narrative forward.
• The portrayal of family dynamics , especially between Momoa's character and his on-screen family members, is a key strength, mirroring the effective dynamic seen in "Braven". This element adds depth to the characters, making the audience more invested in their journey and survival.

Acting and character portrayal

• Momoa's standout performance elevates the movie, showcasing his ability to blend physicality with emotional depth. His portrayal adds a layer of authenticity and gravitas to the action sequences and the film's more intimate moments.
• Jill Wagner exhibits Mama Bear resilience , her character's empowerment avoiding clichéd portrayals often seen in action thrillers. This adds a refreshing dimension to the film, highlighting the importance of strong female characters in driving the narrative.

Plot and genre execution

• The movie's survival skills and preparedness themes, demonstrated through the use of traps and teamwork against adversaries, showcase the characters' resourcefulness. These elements not only heighten the tension but also contribute to character development, as they navigate through various challenges.
• While the villain portrayal may be critiqued for lacking depth, the primary focus on the protagonists' struggle and resilience ensures the narrative remains engaging and dynamic.

Cinematography and direction

• The cinematography in 'The Guardian' is noted for elevating the family-focused narrative, creating visually stunning sequences that enhance the storytelling. This aspect is particularly effective in action scenes, where the combination of landscape and choreography creates a compelling visual experience.
• Lin Oeding's directorial debut impresses with a background in stunt coordination, bringing a unique perspective to the action sequences. The film benefits from this expertise, with well-paced and creatively executed scenes that maintain tension and interest throughout its 94-minute runtime.

THE GUARDIAN - Hollywood Movie | Jason Momoa, Jill Wagner |Blockbuster Action Thriller English Movie

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The Guardian (I) (2006)

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