rob is my muse

For those unfamiliar with the titular character, she’s been around since 1973 when she was first published by Marvel Comics, created by Roy Thomas and Barry Windsor-Smith based on the works of Robert E. Howard. But it wasn’t until Dynamite Comics got the rights to her that she really got a chance to shine; famously, Gail Simone penned a reboot of the character in 2013, which is often referred to as the character’s origin. In 1985, Brigette Nielsen portrayed the fierce red-headed warrior in a film that was met with mixed reviews but has since found a niche audience. It’s safe to say that there was more than enough lore to tap into for a new take on the character, and Bassett alongside writer Tasha Huo were the ones up to the task. Their final product is an action-packed fantasy epic that was never truly given the chance it deserved.

Deep in a mystical forest filled with creatures that resemble prehistoric beasts with a fantasy twist, we are first introduced to Sonja (Matilda Lutz). She travels through the sea of green on her horse, with whom she shares a special bond—they even have a unique way of communicating with one another. Her gentle connection with the earth and the beings that inhabit it makes her a protector of the forest, though she still seeks her tribe and her people. As a child, she grew up in her homeland of Hyrkania, worshiping the forest goddess Ashera. After it was attacked by barbarians, she found herself growing up alone, yet always searching for those who were taken from her. It goes without saying that her protective instincts are triggered when hunters enter the forest and remove the large antlers from a family of forest creatures.

From the start, Bassett shows us that Sonja is a woman of her word—she doesn’t let anyone take from the forest without there being hell to pay. She soon finds herself outside a stronghold, surrounded by henchmen and women of all kinds. More importantly, she witnesses even more animals being abused. And while Sonja is kind-hearted, she is equally savage when provoked. However, she is eventually overpowered and enslaved by Emperor Dragan the Magnificent (Robert Sheehan) after being defeated by the blade of Annisia (Wallis Day). Thrown into a gladiator-style arena, Sonja is forced to train alongside other unfortunate contestants.

Osin the Untouched (Luka Pasqualino), the formidable Hawk (Michael Bisping), and his sly partner Petra (Rhona Mitra). During her training is where Bassett’s style shines; impressive action sequences shine with her mixture of slo-mo that highlights the physical power of her actors. And while Sonja is training alongside her new pseudo-colleagues is where we get to know more about her as a skilled fighter. Donning her iconic chainmail bikini, which offers no sort of protection, just gives the audience something to hoot and holler for. Bassett places numerous challenges in front of Sonja, having her face off with death and live up to her She-Devil moniker.

I can’t think of someone better to bring Red Sonja to the screen than Bassett; she has a distinct eye for these kinds of films. Low-budget fantasy can be tricky to nail because so much of it revolves around being able to immerse your audience in a magical world. Bassett does so with ease, making the most out of practical makeup on characters like General Karlak (Martyn Ford) and using CGI when needed to create buildings with flowing magic. She doesn’t let the action overshadow Sonja’s journey for freedom or avenging the forest, allowing her to be a fully fleshed-out character. The film has a rather straightforward script, and often Sonja’s journey feels reminiscent of Furiosa from the Mad Max franchise, two fierce and complicated women who were brutalized by their overlords. Huo injects plenty of humor into the narrative, and even some blushworthy romance that yearns for a sequel.

Bringing the titular character to life, Lutz brings her all to Sonja; if you’ve seen her in Revenge, then you know how resilient and savage Lutz can be. But she’s equally passionate in her portrayal of a wayward woman looking for her people. Not only does she look the part, but she is the part, making it hard to envision anyone but her playing the role. Lutz goes through many phases of Sonja in this film, from a free spirit in the forest to a blood-soaked avenger; she evolves into each one with ease. The film has an impressive supporting cast as well, but Day and Sheehan, as Sonja’s main foes, are what elevate this beyond its comic book genre. Day plays Annisia as an alluringly tormented warrior; even when you don’t want to feel badly for her, her performance makes you empathize with her. Paired with the twisted Dragan, Sheehan is often over the top, but it works. He gives this former slave boy an erratic yet genius mindset that leads to some gnarly battles.

It’s a shame that this is ending up going under many moviegoers’ radar, and it’s not totally their fault either. Bassett, her cast, and crew have created a fantasy epic that shows you where each dollar is spent. Lutz gives one of the best action performances of the year, and it’s basically being relegated to our television screens rather than in a theater. It’s unclear who, or what, or why its distributor is only doing select dual screenings with Bassett’s other film Solomon Kane, a one-day screening on August 13th from Fathom Events, and sporadic screenings here and there. The film teases the potential of a sequel that doesn’t feel likely to occur, which is a shame considering Bassett has more than enough to work with. Visually the film falters in some of its grander moments, like panning over CGI buildings. But its limited budget still manages to rival the VFX from big budget blockbusters released this year. Its release on digital will allow a wider audience to revel in its early 2000s grandeur.

Red Sonja marks yet another soon-to-be cult classic from Bassett, giving Lutz the spotlight to show off not only her physical abilities as an actor but also her complex approach to characters. With a solid cast, practical effects, and high-stakes action, Red Sonja is one of the best comic book films of the year.