Introduction

When I first heard about this film, I was skeptical – extremely skeptical. The mere thought that someone would seriously attempt to release another Red Sonja film adaptation after all these years sounded more like Hollywood desperation than a sincere homage to me. It was immediately clear to me that it would be completely different from the 1986 version. But the big question for me was: How can you make a „sensible“ film version today that stays true to the source material without coming across as watered down or overproduced?
Unfortunately, the trailer didn’t provide a clear answer either. Visually, it looked really good in parts, but the story and tone were difficult to assess. A few scenes reminded me of classic VHS nights, while others felt almost too modern and polished.
After some back and forth – and with a healthy dose of GenX cynicism in tow – I decided to check out this movie. Popcorn, cold beer, lights out, roll film.

… 1 hour and 50 minutes later …

That wasn’t what I expected!
It was somehow better -and at the same time worse.
Some moments really resonated with me, while others made me shake my head in anger.

And honestly, why have I been watching so many movies lately where I don’t know whether to love or hate them after the credits roll? Maybe it’s me, maybe it’s because movies today always oscillate between fan service and mass appeal.
But the feeling of being torn between two extremes has become a recurring theme in my cinema experiences.

Advance warning

But first things first – and a little warning: I’m going to spout a few views and opinions here that are guaranteed to be a slap in the face to woke GenZ snowflakes (not „might“ – but „will“!). This isn’t a trigger warning in the modern sense, but rather a classic GenX disclaimer: If you can’t handle my 80s worldview, feel free to bail now, grab a soy latte, and keep scrolling through TikTok.
Everyone else: Buckle up – it’s going to be a rough ride through a dark low-fantasy valley full of blood, steel, and broken heroes… 

The positive aspects

Let’s start with the positives – the things that actually make this film so damn good:
The director has clearly tried to create something in the style of a classic 80s sword-and-sorcery film.
And she has succeeded surprisingly well in some respects:

• The overall story fits and seems as if it could have come straight out of an old Heavy Metal comic.
• Camera, optics, look and feel → clearly 80s VHS vibes, with a slight graininess Trash – exactly how you want to see it.
• Scenes and effects – sometimes difficult to distinguish whether they are practically constructed or CGI/LED volumes. But it is precisely this blurring that gives the whole thing a certain „retro fake charm.“
• The makeup – especially that of the Mandrill people – is a great idea, really something different and almost as if someone had found a lost creature design from the era of „Beastmaster“ or „Deathstalker.“
• The costumes (often) look like something out of an 80s barbarian movie—you can practically smell the mixture of leather, sweat, and glue.
• The pacing is also reminiscent of the old sword-and-sorcery films in places: rather slow and atmospheric, with occasional swings toward the over-the-top.

The negative aspects

So far, so good – if only she had followed through with this idea. I’m afraid that the studio interfered (once again). Because two important elements of a classic 80s sword-and-sorcery film are missing: gore and nudity!

Okay, there is a little bit of gore – three scenes to be precise: animal gore at the beginning, a close-up of torture with a knife in the wound, and a crossbow bolt through the neck. But that’s it. View blocking during decapitations, even an extremely important serious injury simply disappears between two cuts, as if someone was afraid the audience might be squeamish.
And real or full nudity? None. Instead: some deep cleavage, a some bikini midriff, and bathing with clothes on!
In the 80s, all of this would have easily been PG-13 – but definitely not a real R-Rating.

Now that sounds as if gore & nudity were the most important things ever. Of course, they’re not. But in a film that deliberately embraces the 80s sword-and-sorcery style, they’re simply part of the package – as sure as swords, blood, and demonic laughter.

Another point: Why do villains nowadays almost always have to have some kind of redemption arc or „empathy for the villain“ moment? Can’t a villain just be evil, sinister, and merciless – like they used to be? Without having to explain their sad childhood?

Perhaps there will be a director’s cut at some point that shows more courage: more gore, more nudity – worthy of a true 80s dark fantasy flick. That could also iron out the Mary Sue problem. After all, where did Sonja learn to fight so well? The film provides no information about her time between leaving her tribe and the present (searching for the other Hyrkanians). A few training scenes in the slave pits, sweat, blood, and broken bones – that would have helped to make her skills a little more credible.

In short:
Like a good heavy blow, but at the last moment the blade was turned so that it was only a light blow and not a fatal blow.

The Armor

The director has clearly tried to please everyone here. At first, Sonja is dressed in a simple leather outfit – Rangers style, pretty generic. Later, she does get to wear the classic comic outfit for a short while, but the whole thing is ridiculed by the blacksmith’s remark:
„You can have this.“ – „And that protects?“ – „Nothing. Absolutely nothing. But the crowd will love it.“

Sure, I know – it’s the same old running gag: a chain bikini that offers no protection and is only there for fan service, titillating shots, and the classic male gaze. But at least the striking outfit was included at all – unlike in 1986, when it was completely ignored.
I would describe the armor she wears for the rest of the film as a „plate bikini.“ To me, it seems like a compromise: a little more protection, but still visually reminiscent of the iconic chain bikini. Unfortunately, it feels like trying to dance at two parties at once: to make some fans (somewhat) happy and at the same time (somewhat) appease the critics. In the end, we’re left with armor that doesn’t really fulfill either purpose – not badass enough for the hardcore fans, but also not „realistic“ enough to pass as credible warrior armor.

And this is precisely where the problem lies: Red Sonja is not a character who can be portrayed in a half-hearted manner. Either you go all out with fan service and make the chain bikini a myth, or you throw everything overboard and build a completely new, consistent version (see 1986). But this middle ground feels more like a studio compromise than a bold decision.

Cast

As good as Matilda Lutz is, in my opinion she simply lacks the physique for a warrior like Red Sonja. And I don’t mean her bust size – I mean real muscle mass. She simply looks too thin, almost fragile, for a swordswoman. If you compare her to Sandahl Bergman in Conan or Brigitte Nielsen in the 1986 version, you immediately notice the difference: they had more physicality, more presence, more of that „she-devil with a sword“ aura.
Someone like Gina Carano would probably have been a better fit with her MMA physique, and Gal Gadot (despite her DC image) would also have brought more physical credibility to the role. I’m not talking about superficialities, but about authenticity: a character like Red Sonja thrives on a mixture of toughness, wildness, and raw physicality. And that doesn’t always come across as it should with Lutz.
That doesn’t detract from her acting performance – it’s solid and, in some moments, even really strong. But for an icon like Sonja, I would have liked to see someone who not only has acting skills, but also more physical dominance. Because if you’re trying to revive the spirit of 80s dark fantasy, you need someone who physically embodies that vibe.

But in the end, that’s just my personal opinion – and perhaps, in typical GenX fashion, a harsher judgment than a GenZ viewer would make.

Conclusion

In my opinion, Red Sonja 2025 had the potential to become a truly great, memorable film – a modern classic in the spirit of the 80s. Unfortunately, studio decisions and marketing polish have resulted in many elements appearing half-baked. It’s a shame, because the foundations were there: atmosphere, visuals, and a dash of courage. But courage alone is not enough if the blade remains blunt in the end.

I know that I’m applying the standards of classic 80s sword-and-sorcery films quite strictly here – and of course, many viewers today will find this old-fashioned or exaggerated. But that’s exactly the point: if you consciously reference this era, you also have to follow the rules of this era. GenX viewers will probably agree with me on this, while younger generations may just shake their heads.

My wish: a director’s cut that has the courage to be more consistent. With more training scenes that show Sonja’s development, more background stories about Dragan, Annisia, and Sonja herself – and, of course, with what gives a real dark fantasy film its bite: more gore, more nudity, and more unpolished savagery. Then this film could finally draw the sword – like a wild decapitating blow that separates the head from the torso and leaves no questions unanswered.

PS 1:
“Hawk once said the Barbarian King of Cimmeria was a man worth meeting.
Luckily, they added this line—a small but nice fan service moment.

PS 2:
Let’s see how Deathstalker 2025 turns out – apparently it’s supposed to be more of the same. If it has the courage to really go all out with dark fantasy, blood & guts & tits, maybe we’ll finally get that feeling back of finding a lost VHS tape at three in the morning – dirty, brutal, and with just the right spark of madness that’s missing today. 🤘 

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Keywords: Red Sonja 2025 movie review, Red Sonja reboot analysis, Sword and sorcery film critique, 80s fantasy movie homage, Gen X perspective on modern cinema, Retro aesthetic in modern films, Plate bikini armor discourse, Bloodless action movie criticism, Missing director’s cut Red Sonja
Hashtags: #RedSonja2025 #MovieReview #SwordAndSorcery #FantasyFilm #80sAesthetic #RetroCinema #GenXReacts #DirectorCutPlease #PlateBikini #BloodlessBattle