Nerdly » ‘Red Sonja’ VOD Review

21st Aug2025

‘Red Sonja’ VOD Review

by Kevin Haldon

Stars: Matilda Lutz, Robert Sheehan, Wallis Day, Luca Pasqualino, Michael Bisping, Martyn Ford, Eliza Matengu, Danica Davis, Trevor Eve, Rhona Mitra | Written by Tasha Huo, Roy Thomas | Directed by M.J. Bassett

After years adrift in development limbo, Red Sonja has finally hacked and slashed its way to the screen under the direction of M.J. Bassett. With its blend of swords, sandals, and sorcery, this new take on the cult comic-book heroine manages to deliver a rousing, if imperfect, fantasy adventure that thrives on strong performances and an earnest sense of spectacle.

The story follows barbarian huntress Red Sonja (Matilda Lutz), enslaved by the tyrannical Emperor Draygan (Robert Sheehan) and forced into gladiatorial combat. Refusing to bow to cruelty, she unites with a band of fellow warriors in a desperate bid for freedom, while facing Draygan’s formidable consort, Anissia (Wallis Day). It’s a tale of rebellion and survival, one that steadily builds toward an inevitable clash between Sonja’s people and the forces of tyranny.

Lutz, whose casting sparked debate for not being “comic accurate,” proves more than capable of carrying the film. Known for her breakout role in Revenge, she brings grit, agility, and intensity to Sonja without leaning into oversexualized cliché. Her action work is sharp and convincing, grounding the character in authenticity. While some may argue that Rona Mitra, who appears in a smaller but pivotal role, might have embodied the iconic warrior equally well, Lutz deserves credit for making the role her own.

Wallis Day is another standout, bringing ferocity and presence to Anissia, while MMA fighter Michael Bisping and Martin Ford provide muscular support as Sonja’s adversaries. Yet the film’s true scene-stealer is Robert Sheehan as Emperor Draygan. Revelling in camp theatrics, Sheehan elevates every scene he’s in, blending menace with wry humour and giving the film an operatic villain worthy of its mythic scale.

Visually, Red Sonja punches above its weight. Despite budget limitations, Bassett and her team deliver imaginative creature designs – particularly a triceratops-like beast and a towering cyclops – that mostly land, even if some CGI falters under scrutiny. The gladiatorial sequences, heavy on grit and brutality, echo Gladiator, while the second half evolves into a chase-driven battle for survival that recalls epics like Kingdom of Heaven. The action choreography is consistently engaging, with Sonja and Anissia’s duels being particular highlights.

Not everything works. The pacing drags in places, with world-building sequences sometimes overstaying their welcome, and occasional editing choices feel jarring. Still, the overall package balances character-driven storytelling with pulpy spectacle. The film’s refusal to pander to outdated fantasy tropes, eschewing excessive sexualization in favour of female strength, also feels refreshing.

Ultimately, Red Sonja succeeds where many fantasy revivals stumble: it delivers entertainment without pretence. It may not be flawless, but Bassett has crafted a spirited adventure that embraces its genre roots while modernising its heroine for a new audience.