A modern retelling of Shakespeare's classic comedy about two pairs of lovers with different takes on romance and a way with words.
Whedon’s inventive framing, delicate means of shifting focus and glowing, ethereal use of light make for a stylish and absolutely credible vision, about which much ado would be well-earned.
Shot in black and white, Whedon’s film is a sprightly little bagatelle that reminds me of end-of-term plays where some of the more popular prefects gamely hoof in unfamiliar roles. Instead of Italy, this Much Ado relocates to modern Santa Monica and plays out around a lovely airy property which is actually Whedon’s home.
Must-see of the summer so far.
It will require no conspiring to make you fall for this one; Whedon and Shakespeare are a perfect match.
It’s a refreshing approach. Where most contemporary updates of Shakespeare tend to focus on the heavier side of the Bard’s work, this one unashamedly makes it fun.
Putting Much Ado into this Martha Stewart/Brooks Brothers world of tasteful furnishings and subdued upper-middle class suburban stylings is weirdly cramped and claustrophobic.
There is no reason why people who flock to Avengers and The Cabin in the Woods shouldn't be just as entertained by a story full of jokes and romance and sly banter, even one that first played to audiences more than 400 years ago.
Delightful and charming.
It doesn't quite make the jump from likeable home movie to fully realised film, and the play's misogynistic contrivances are particularly wince-worthy in a contemporary setting, but it's still an admirable project.
Very soon I warmed to the charm, intelligence and good humour, and ended up thinking the film something of a triumph.
General release. Check local listings for show times.