2011 Directed by Paul W. S. Anderson
The hot-headed young D'Artagnan along with three former legendary but now down on their luck Musketeers must unite and defeat a beautiful double agent and her villainous employer from seizing the French throne and engulfing Europe in war.
Logan Lerman Milla Jovovich Matthew Macfadyen Ray Stevenson Luke Evans Mads Mikkelsen Orlando Bloom Christoph Waltz Gabriella Wilde James Corden Juno Temple Til Schweiger Freddie Fox Dexter Fletcher Helen George Christian Oliver Markus Brandl Jane Perry Andy Gathergood Susanne Wolff Ben Moor Carsten Norgaard Isaiah Michalski Horst Kiss Gudrun Meincke Victoria Koestler Yvonne Pajonkowski Nina Eichinger Max Cane Show All…
Lisa Geffcken-Reinhard Michael Kranz Carsten Richter Frank Kruse Andrew Stirk Chris Rebay Roland Platz Jörg Klinkenberg Benjamin A. Rosenkind Stefan Busch
Summit Entertainment Constantin Film Impact Pictures Deutscher Filmförderfonds Nouvelles Éditions de Films (NEF) New Legacy Film Studio Babelsberg
De tre musketerer 3D, Oi treis somatofylakes, Os 3 Mosqueteiros, 삼총사, Les trois mousquetaires, Мушкетёры, Мушкетeры, Die drei Musketiere - Alle für einen und Waffen für alle
To paraphrase the words of Selina Meyer: somewhere in the world there's a woman getting her pussy eaten by Mads Mikkelsen and I'm stuck here watching this.
Just when I thought it couldn't get any worse James Corden showed up. But then the birds shat on him, so....silver linings.
Do you know what that sound is, Mr. Paul W.S. Anderson?
That's the sound of Alexandre Dumas crawling out of his grave to give you a proper ass whoopin'.
75/100
Gleeful, juvenile, and yes, 'vulgar' in every aspect, but Paul W.S. Anderson stirs adventure and warmth into the digital world without missing a step. If the creamy smooth sets and locales don't sell you, then the flurried, goofy mix of steampunk and unabashed escapism will surely wisk any W.S. detractor away into a painterly, fantastical wonderland.
Milla Jovovich makes our world spin. I'm sure of it.
not trying to be a bitch but I was a lunatic about Matthew Macfadyen before a lot of other people
a heartwarming vision of what american popular cinema of the 2010s would look like if 9/11 had never happened. production and costume design are ludicrously lavish. you are not a real succession fan if you don't watch this.
orlando bloom: who are you?
luke evans: i'm you but more powerful and gayer in every conceivable way
![nathaxnne [hiatus]](https://a.ltrbxd.com/resized/avatar/upload/1/9/5/2/4/3/shard/avtr-0-80-0-80-crop.jpg?v=2d9f35eba8){kind=small}
Lavishly idiotic completely earnest tribute to early XXTH Century Action Cinema Hyper-Rococococo Digi-Stylistics layer eras of mannered artifice atop one another in slices so thin as to be transparent, each lattice plain beneath the last, tracing one upon the next. PWSA's Enduring Love for NeoClassicist 90's Mall Food Court Environments Within Which To Playset Milla Jovovich In Complicated Outfits With Many Weapons And Straps To Hold Those Weapons Blazes Onward Hooray! never So Dumb as to assume anyone cares about Internecine Church-State Squabbles when the entire chessboard is about to be overturned, The Three Musketeers knows everyone always ever comes to movies such as these to see sword fighting and swinging from things and people getting kicked in the face…
Action!: Anderson, Anderson, Anderson.... Andersson? - The Nerdy Paul
Look, I get many of you folks love that whimsical sense of adventure in movies like this. That grounded and fun take on swords fight like the one done by the late and great Errol Flynn. But the thing is that those type of movies tend to bore me, at least they are done in a way like the Pirates of the Caribbeans (especially the original Gore Verbinski trilogy) where it has the spirit of those early 30s swashbuckler films with a much modern take. I am also guilty for having a genuine love for the much modern, steampunky and fight-pace take in the genre created by Guy Ritchie with his…
I'd argue this is probably the most delightful of PWSA's films - basically a children's movie, with its bright primary colour palette and in how it initially functions only by the terms of its whimsical, internal logic. There are trap-doors and secret entrances everywhere, staircases that can only be unlocked by hidden keys, booby-traps which the extent of their complexity borderline defies logic. And as the brief opening sequence suggests, Europe at the dawn of the 17th century and a possible assault on the borders of France can be concentrated all the way to mere figurines on a map, like a game of Risk. But even as we see this, we also hear of secret plots, internal plans to overthrow…
