The Last Duel

A layered, if uneasy watch.

It's a strange, long horror comedy about how women in the 14th century were at the mercy of dudes who were vain, petty, and cruel, only concerned with their own status even when someone's life is at stake.

It's Comer who saves it from being a cold, intellectual exercise in storytelling. The subtle modulations in her performance within each segment is more effective than the film's violent ending.

It's tempting to think "The Last Duel" should have just been Marguerite's account, but so much of the film's pleasure is seeing Damon, Affleck and Driver gradually dismantle and even lampoon their own charms.

The Last Duel is a big screen experience if ever there was one and, for the most part, a pretty impressive one.

The Ridley Scott-directed, Matt Damon and Ben Affleck-cowritten film is a fascinating text full of spectacle and ideas worth chewing on.

The titular duel absolutely lives up to the hype. The brutality of the time is encapsulated perfectly in Ridley's vision.

The Last Duel is really the best of both worlds: action-packed and devoted to the right side of history.

Rashomon may have inspired the story, but this is like the paper that Rashomon came wrapped in, a costume drama with modern relevance detailed in a highlighter pen. Everyone is locked up in the tragedy of their circumstances, but you don’t feel it.

Ridley Scott’s best film in awhile. An epic, brutal, but intimate at its heart/soul of its story. A lot of this comes thanks to a fascinating script that brings a unique structure to the entire story.