Movie Review: ‘Much Ado About Nothing’

Twelve days of shooting. One house for a set. A filmmaker starting to make a big splash in the cinematic community. One of the most popular Shakespearean comedies. “Much Ado About Nothing” has all the makings of a good comedy: high wit, slapstick, jokes of all kinds and of course, the traditional wedding finale.

Produced in an unconventional manner, director Joss Whedon shot the film over the course of 12 days in his family home, relying on connections to actors and production crews he had worked with in the past. Whedon, fresh off his success with “The Avengers,” developed all the components of the film. Using only the original script as his basis, Whedon and his associates did the rest of the work themselves, from editing to music.

The original play revolves around two couples: Benedick and Beatrice and Claudio and Hero. Benedick and Beatrice overcome their dislike of each other to fall in love. At the same time, Claudio and Hero’s relationship hits complications as allegations of sexual infidelity arise. Both couples must deal with the obstacles as they crumble and come back together.

Whedon chooses to set the film in the 21st century while shooting in black and white, giving it a classic feel. The setting is changed to Malibu but the circumstances have not changed. Just as soldiers today are still returning from Afghanistan and Iraq, the men in the movie are also coming back from war.

Whedon’s adaptation works without being over the top: Although the need for Hero’s virginity for marriage to Claudio feels anachronistic, it works as a plot device.

Whedon leaves the tricks to Shakespeare, letting the Bard do the heavy lifting and simply filling in the gaps to raise it to modernity. He gets into the spirit of Shakespeare by crafting a pun of his own in a scene between antagonist Don Jon, played by a magnetic Sean Maher, and his lackey in a way that Shakespeare himself might have appreciated.

Most actors are familiar to those who have been in Whedon’s other works, including the cult popular Clark Gregg, known for his role as Phil Coulson from “The Avengers.” Gregg executes his role well as the father figure Leonato, adeptly crossing the bridge from mirthful and joking to angry and remorseful as needed.

The standout star of “Much Ado About Nothing” is Amy Acker, who plays Beatrice, the main female character. Acker is perfectly natural with what can be difficult lines of Shakespearean English. She can handle Beatrice’s quick wit, delivering quips on point and, when necessary, can bring in real passion for the scenes with tears and anger.

Her counterpart, Alexis Denisof as Benedick leaves more to be desired. A recognizable actor who has a history with comedic roles such as Sandy Rivers in “How I Met Your Mother,” comes off as more stilted and at times, awkward. While his physical humor incites a laugh, Denisof also evokes discomfort from the audience with his awkward posturing and the unnatural delivery of his soliloquies.

As for the role of Hero, Jillian Morgese takes on her first major role in a feature film. Although she has few lines, she is believable, especially in the emotional scenes.

One of the best moments of the film is the montage of a party with a beautiful and original song playing in the background. Shot smoothly, the montage reveals the personalities of the characters while also moving the story forward. Even though Whedon is not a professional composer, he still makes all the music himself. The film takes a risk with this respect but mostly pulls it off.

With the exception of the song playing during the fake funeral scene, the soundtrack accurately reflects the moods of the scenes, highlighted with Don Jon’s several appearances where the ominous, non-diegetic music matches his threatening nature.

Like any film, “Much Ado About Nothing” is not perfect. Some of the transitions makes us question Whedon’s editing choices. And even though the film flows well for the most part, occasional white-out transitions seem out of place and ill-advised.

Against these minor flaws are some truly beautiful singular shots, including what may become an iconic one of a man in a snorkel floating in the pool. “Much Ado About Nothing” deserves the hype that has been surrounding it a year after its debut at the Toronto International Film Festival. Even with a broad release, it may not be a blockbuster, but it is sure to be among the best summer productions.