The Last Duel

If you leave aside the fact that Affleck’s image is rather more reminiscent of a contemporary Miami Beach teenage exhibitionist than of a historical figure, and if you’re not bothered that the main female character, alongside all of those close-minded dimwits, has higher emotional intelligence than most contemporary spiritual college girls, what you will get out of The Last Duel is an engrossing reflection on the issues of contemporary society, bizarrely set in a historical chamber drama that will make your heart pound in its climax. Because it involves far more than just pride and the settling of scores between two knights. (12/18/2021)

I would give I don't know what to be a part of a Ridley Scott shoot and get a glimpse of his art, his films look so real. One long camera shot captures the mood of the entire Middle Ages – a cathedral under construction, a stone bridge with a dirt road, huts by the river with boats floating on it, a peasant with an ox team, and behind him a cohort of soldiers on horseback, cattle behind a fence, dirty pigs wallowing in the mud, mangy dogs running around, and all that brown-tinted medieval gloom; beautiful. And then there's the story, which could be cheaply flushed down the drain as a politically correct me-too tale, but it's not. It is a powerful story about the strength of a woman who fights for her honour despite the threat of cruel death by burning. And at the end, it cuts to what is probably the best jousting I've seen in the cinema, even considering they so rarely appear in films. Jodie Comer is superb, and the guys are overshadowed by Adam Driver, he's a stud. And Ridley, once it's over, it's gonna hurt. (10/23/2021)

It was good, but beware, the trailers are deceptive. The Last Duel isn't nearly as epic as Kingdom of Heaven or Robin Hood. In fact, except two short and fairly small battles and a final clash, it is a fairly intimate affair that usually gets by with a few people talking to each other. But that doesn't matter at all. The Last Duel tells the story from three different points of view, and logically the one who is currently telling the story is considered the biggest hero and the purest character – after all, a douchebag will rarely consider themselves a douchebag – and it's up to the viewer to figure out who's the real hero, who's the victim, and who's the opportunist. That's the only major complaint I have with The Last Duel. It's all a bit too easy to read, and there's unfortunately not enough room for any hesitation or ambiguity in the end for the film to provoke the discussions the makers obviously wanted. Or rather, it did, but it's probably very easy to agree. In any case, Adam Driver and Jodie Comer are great, Matt Damon is very good, and Ben Affleck clearly enjoyed being able to play a character that suits him while being distinctive enough not to get lost next to the central trio. Additionally, Ridley Scott manages to pull off the visuals and sell the dialogue in the intimate scenes, but then when he gets the chance to really step it up, he doesn't hold back. Plus, thanks to the form, and indeed the triple retelling of the events leading up to the fight, it moves forward very quickly, making the two hours go by unexpectedly briskly. Go for it. And preferably to a hall with the best sound possible, the duel is a blast visually and especially in terms of sound. (10/20/2021)

One is uncomfortable in matters of court, estate management, and affairs of the heart, but he is at ease among men on war campaigns. She is his way to the land and the continuation of the family line, certainly not his beloved better half. The other is a "man of the future", charismatic, skilled in court intrigue, educated in reading, writing, arithmetic and languages. And he is ambitious. He is also used to getting away with everything, without any consequences. She is a muse for him, who flows with him affectionately whenever they bump into each other. And then there's her, caught between (not only) those two and their decades-long rivalry for power, position, favour and property (which includes her). Rashomon's approach is used with sensitivity, it's not an overdone "three times the same situations diametrically opposed". On the contrary, when the situations are reenacted, they differ in nuance and staging, basically in the details where the devil is hidden. It all adds up to a thrilling final duel that, in terms of adrenaline, stakes and emotion, is among the best chivalric action ever to grace the screen – the best, not the most faithful, because it denies all the laws of historical fencing. But to hell with that. Perhaps the only thing missing is the view of someone impartial not caught up in the whirlwind of the trio's events. If there's anything to single out by name, apart from the aforementioned duel, it's the multi-layered performance of Jodie Comer, who must be completely different three times and yet still the same character, and – I can't believe I'm writing this – the performance of Ben Affleck, who relishes the role of the debauched, string-pulling lord to the fullest. (10/24/2021)

Ridley Scott and his historic comeback! I put this film off for quite a while, but I'm surprisingly pleased with the result. Scott relies on an unconventional theme, which he tells from three different points of view, and since I love the courts, history and the actors, I did without yawning and suffering, which I feared due to the lack of action scenes. In the first third Ridley serves up a couple of shorter battles, wonderfully raw and brutal – even though they lasted barely two minutes, it was still a treat and I'm quite annoyed that he didn't extend them to at least five minutes. Technically, the film is top notch, the costumes, the sets, the locations are very believable. The dialogue is top notch, the actors give their best. Matt Damon is superb, Jodie Comer is impressive, and Adam Driver is sleazy as a snake (I'm not really into Driver yet, his film choices don't really suit me), and the tense trial and the incredibly intense final duel were also great, more or less demanding 5 stars because it had everything and lacked nothing. A solid historical film that I may even repeat once, but I give Ridley a minor slap for the short battles, next time I want the carnage! Story 4/5, Action 3/5, Humor 0/5, Violence 3/5, Fun 4/5 Music 4/5, Visuals 5/5, Atmosphere 5/5, Suspense 4/5, Emotion 4/5, Actors 5/5. 8.5/10. (01/20/2022)

This ingenious variation on the concept of three different perspectives on a single event, which was most famously presented in Kurosawa’s Rashomon, is built on a carefully constructed screenplay and its solid execution. But here the confusedly reconstructed historical setting (immersive battles and artificial-looking cities) fully serves the interests of the story and the characters, who, together with the actors playing them, carry this excellent film. Though, following the model of Rashomon, The Last Duel is primarily concerned with a single moment; the depiction of the broader context is essential for the film, because it is in that context that both of the individual actors present themselves, or rather how they perceive themselves. Self-regard and self-presentation are the root of the clash of perspectives, and at the core stands a brilliant illustration of how the whole of history is distorted by the fact that it was formulated by men. The final third of the film offers the perspective or rather the truth of a woman in relation to “truths” from the perspective of men. It’s not only the fact that, from a dramatic point of view, everything for which the script gradually lays the groundwork is brilliantly put to use, but primarily the fact that, with devastatingly unpleasant eloquence, it puts forth the absurdity of the maxim “this is a man’s world”, which looms over not only this particular story of one woman, which is told by two men, but also the entire history of a patriarchal society that not only fails to listen to women, but also a priori judges them according to its own established viewpoints. The woman’s perspective thus reveals not only her story in the shadow of men and their disregard, but also how their definition of themselves is shaped by privileges and ideals about themselves based on the fulfilment of particular contemporary masculine roles of the gallant knight protector and the honourable, erudite heartbreaker. Ridley Scott then brilliantly brings to life this intimate drama and all its levels within the perfectionist staging of a historical epic that does not draw attention to itself, but works as a necessary materialisation of a particular historical period characterised by strictly defined gender roles and norms. The final titular duel then gets its intensity not only thanks to its excellent formalistic depiction, but primarily because it represents a dramatic climax, which, unlike the opening sequence, we no longer perceive through the lens of the two male protagonists, as we rather identify with the woman who is forced to observe the whole situation. The Last Duel is thus an entirely atypical Hollywood project, whose large budget serves for the creation of an intimate drama with unfortunately far-reaching significance, and where the historical setting puts forth the negative traits that persist at the core of our society to this day. (10/20/2021)

Cleverly written and masterfully made reconstruction of the last ever trial by combat between chevaliers of Medieval France. Wonderful dialogs and various points of view of the three main protagonists build up the atmosphere gradually, culminating in the final punch-up. The intense, bloody duel is the crowning glory of this exquisite acting recital delivered by Damon, Driver and Jodie Comer too. Similarly, Affleck greatly enjoys his debauched nobleman. Scott quite possibly came up with the movie of the year. P.S.: And once again, a great soundtrack from Harry Gregson-Williams. CONFESS!!! (12/05/2021)

Ridley Scott is a unique filmmaker, each of his great historical films is unique in style, concept and narrative. From classic linear swords and sandals (Gladiator), to a spiritual journey (Kingdom of Heaven), to peasants running around the woods in cool packs (Robin Hood). The Last Duel is most similar to Robin Hood in aesthetics and production design, but it is more serious, topical and layered in content. It's the story of a strong woman who was ahead of her time in thought (and courage). A breathtaking acting tour de force in an original and daring script, spiced with phenomenal visual stylisation, darkened camera filters and a fierce final sword fight. There isn't as much action as usual and the running time is a bit too long, mainly due to the fact that some shots are repeated several times due to the way the story is told – which is also basically the only flaw. (12/16/2021)

Amazing film. This time, Ridley Scott's reliably great direction meets an equally great script that plays beautifully with the viewer. Three main characters, three perspectives on one thing... And although the perspectives differ, it doesn't necessarily mean that any of them is lying. All this with flawless performances and a beautiful production design. And of course, the titular duel. Only once in a while does a film like this come along whose only flaw is that it's not a bit longer. (04/10/2022)

The film of the year. Ridley is still a master of the craft, but the biggest stars here are both the actors (of whom, of course, the fragile and unbreakable Comer leaves the biggest impression in terms of sympathy, but the slimy charismatic Driver and especially the scarred and charismatic Damon also rock) and the screenplay, which Ben and Matt have once again divinely baked. The structure of the shifting point of view of the three characters, always revealing a little more of the one and unquestionable truth, must be satisfying for both narratologists nitpickingly analysing the processes of narrative, and for 'ordinary' viewers who want a bit of an intellectual challenge from the film and are happy to give it their full attention. Three versions of a story about one rape, male vanity and pride, and female suffering in a crazy, lord-controlled era, culminate in a finale that I experienced as I haven't in a long time because of its emotional intensity and unpredictability. The pinnacle of contemporary #MeToo filmmaking, cleverly using historical backdrops to highlight its timeless ideas and not requiring overly sweeping action to make it a riveting dramatic experience. 90 % (01/15/2022)

The Last Duel won me over in particular because of its layered narrative: the viewer watches three differently rendered versions of several key events leading up to a raw, life-and-death fight. It was interesting to see the subtle nuances to crucial differences in each story, which fit the central characters perfectly. What might have been an everyday affair for one was a harrowing experience for another – actually the other. The part devoted to Marguerite and her version of the story, in which the until recently unknown to me Jodie Comer excelled, was without a doubt the one that got to me the most. Matt Damon and Adam Driver were also good, but Comer still stood out above them in my view. In addition to a strong and timeless story and compelling performances, the film also captivates because of its audiovisual execution – the costumes, the production design and music, and the excellent camera work (especially in the action scenes). Holding the whole thing together is the solid and assured direction of veteran Ridley Scott, who is definitely not yet part of the old guard. The only thing I found a bit off about the film in places was the not always adequate vocabulary – some of the lines felt rather contemporary. (10/27/2021)

Watching it, you can no longer wipe away the knowledge of the huge commercial flop, supported by not a lot of scattered filmgoers, after you've experienced packed houses at Villeneuve a few days prior and the cinema box office still has a marker-scrawled sign reading "Dune sold out :-(". But then again, you can share that awful cringe with fewer people during the endless trailer for My Sunny Maad. At first, when the film was bathed in layers of mud, dirt, and very naturalistic battles, I thought this was probably meant to be a film for those who permanently bitch about how nothing is being made these days, swooning when they see a black man waving a chalkboard at the Battle of Hastings (which I can understand) and its failure is the ultimate proof that this audience group is no commercial guarantee of anything and therefore no longer to be taken into account. As the film's real subject matter is revealed, a patiently systematic description of the nature of rape culture in the patriarchy, I actually began to feel sorry that the target audience for these themes (which of course should be all of us, but you know) was so aggressively uninterested in the film. And I'd like to think it's not just because instead of empty screaming emancipatory slogans the film works with the historical context of the issue, which while it prevents the female protagonist from being an active agent in the plot, allows us to follow her perspective by making her an active narrator. Scott, who is riding now on his ninth set of tires, has unusually excelled as a director here. The film is raw, gritty, and radical, and I'm sorry to say that it will probably cut his feet out from under him for the future and sour the old man on it. After Disney ate up 20th Century Fox, we'll probably take a break from this kind of film experience for a while. (10/26/2021)

With this Ridley Scott spectacle, I was grateful that although technology is moving forward at a dizzying pace, movies still cannot transmit smells. Judging by the realistic take on the Middle Ages, the smells would be strong and unpleasant in this case. The grim visuals were enough. The story was excellent, and the music added to the medieval atmosphere perfectly. I found it nice that the filmmakers didn't force their truth on me; I got to see three versions of the same event, each of them different, so I'm glad God took the decision upon himself, and I could just sit back and watch. It was worth it. And the long running time? It just raced by. (01/15/2022)

Very narrowly focused narrative, concentrating on details and gradually building up the image of the main characters of the story. Interestingly presented, very good sound design and direction. On the other hand, I felt a strong lack of scenic variety and general diversity. The sequence of events was predictable as time went on, and despite the original perspective, the film didn't offer anything all that surprising. (11/29/2021)

A patriach of cinema, Me Too and the Middle Ages. On paper, The Last Duel might have appeared to be an intimate drama with a nod to the present day, but that would have been without Ridley Scott sitting in the director’s chair. Over 2 hours of conversations pass like water thanks to the storytelling skills of the duo Ben and Matt, no doubt, but when the swords come into play, they do so with such aplomb that you feel you're back on the set of the Kingdom of Heaven rather than at a fight between two disgraced men over a woman. Scott's script and visuals came together again after years. (10/24/2021)