As France stands on the brink of civil war, the musketeers search for the one who betrayed the king. D’Artagnan tries to find his dear Constance who was kidnapped, while Milady resurfaces.

Released in April, The Three Musketeers – D’Artagnan entertained us enormously. The first part of this new adaptation of Alexandre Dumas’ classic novel is thrilling, fun and charming. Its sequel, which by its title announces a greater exploration of the character of Milady de Winter, is quite successful, but is scattered by trying to tell too many stories at once.

The war between the Catholic royalists and the Protestant republicans is certainly what marked the era and allowed for the most ambitious action scenes. However, it was the wonderful bond between the four main musketeers that made us want to continue the adventure with them. Unfortunately, they are often separated. While D’Artagnan (François Civil) gallops across France in search of Constance Bonacieux (Lyna Khoudri), Athos (Vincent Cassel) makes a stop at his castle before heading to battle at La Rochelle. At least, Porthos (Pio Marmaï) and Aramis (Romain Duris) don’t let go of each other – almost – and remain very funny. In just a few scenes, Louis Garrel in the clothes of King Louis XIII still manages to make us smile. We would have liked to see more of him.

The tone is much more serious in this second part. The colors even seem duller. That said, Quebecer Nicolas Bolduc still masterfully handles the photo direction. Wide shots of advancing soldiers or a beach rescue are particularly impressive. The final fight in a burning building is incredible. Director Martin Bourboulon offers the most spectacular adaptation of the Dumas classic.

As in the first part, the performances are impeccable. Every time the musketeers are reunited, magic happens. However, it is often to fight. Milady’s past is explored more – not as much as one would expect – and adds important nuances to the original story. Eva Green brilliantly plays a woman with many scars who no longer accepts that men control her destiny. She is both strong – and dangerous with weapons – and vulnerable, manipulative and sincere. A magnificent character fleshed out by screenwriters Alexandre de La Patellière and Matthieu Delaporte. These also throw up moral dilemmas with which it is still possible to identify today, including one at the very end which leaves the possibility of a third part hovering.