Tag: Jodie Comer

THE DEATH OF ROBIN HOOD – Review

THE DEATH OF ROBIN HOOD is a far cry from the familiar myth of men in green tights, with a stern, wild-haired Hugh Jackman playing an aging Robin Hood who is far closer to the real northern England outlaws who inspired the legend in the first place, although the film ultimately is about a hopeful tale of a chance of redemption late in life.

But this is not a tale of that medieval outlaw in his prime, but an aged one. The film must first begin in a place of darkness, literally, to show us who this Robin Hood is. As the film’s tagline says, he’s no hero but a brutal robber and murderer who struck both rich nobles and prosperous farmers, leaving a trail of victims of his bloody deeds. Now, near the end of his life, he is pursued by relatives of his victims, seeking revenge.

In this very different take on the Robin Hood myth, THE DEATH OF ROBIN HOOD presents an intriguing dark-to-light tale of the possibility of late-life redemption after a life of crime and murder. Director/writer Michael Sarnoski reached back to the earlier Medieval roots of the beloved Robin Hood legend, tales likely first based on deeds of several northern England outlaws, famed for their skill as archers and known for robbing the rich nobles hated by exploited commoners. Folk tales grew up because common people relished stories of a fellow commoner defying rules to strike back at the rulers. In the early tales, this Robin Hood does indeed take from the rich but the “and gives to the poor” was added in later versions.

Hugh Jackman’s Robin Hood, fierce, calculating, wild-haired and ragged, is a bit like an aging gunfighters in an old Western. He is still formidable as an archer and fighter but now older and feeling the weight of time. He is now on the run after a life of robbing both rich nobles and prosperous commoner farmsteads alike, wandering the stark, dark, snowy landscape of northern England, he tries to evade the many people bent on revenge.

The historical basis and evolution of the Robin Hood myth has been a topic of interest recently, and this historical fiction drama fits right in with that. But this tale is about Robin Hood at the end of his life, not in his outlaw prime, so it leans more to contemplation of mortality and regrets. Director/writer Michael Sarnoski’s epic drama delves deeply into that history for this different, more historically-based fictional take on Robin Hood. In many ways, the story also is like a classic Western, with an aging but still famous gunfighter, struggling with his regrets and pursued by would-be challengers, and confronted by a growing legend that departs from fact.

THE DEATH OF ROBIN HOOD is a tale of possible redemption ultimately but that tale begins with darkness and violence, as it must to establish who this Robin Hood is. That brutal, graphic start may discourage some more sensitive viewers but it is worthwhile to stay with this tale for the thoughtful, uplifting new direction the film takes after it’s turning point, as the film moves towards an emotionally deeper place and scenes suffused with light, with contemplation of human connections, mortality, and hope.

Hugh Jackman is masterful as this aging outlaw Robin Hood, now regretting the violence of his past but seeing no other path forward. The return of an old partner-in-crime, Little John (Bill Skarsgard), sets things in motion, as Little John, who has been living a quiet life as a farmer under an assumed identity, with beloved wife and child, seeks Robin’s help to recover that life after his secret had been discovered by her family and he was tossed out. Ever practical Robin sees little chance of success in Little John’s ambitious plan to take on all the men of that family, but he does see a chance for a death in battle, which he finds a fitting end.

Little goes according to plan, Instead, Robin finds himself gravely wounded but alive, and is taken to a priory on an island, where he is placed in the gentle care of the prioress, a nun played by Jodie Comer. Her gentleness and kind care has a profound effect on the old outlaw and, along with the wisdom of another patient, a mysterious leper played strikingly well by Murray Bartlett in a breakout performance, help lead Robin Hood to a different view of the choices before him.

Beautifully evocative cinematography by Pat Scola fills this dramatic epic film, from the gray, dim grimness of the action filled beginning portion of the film to the sudden light-filled beauty of the hopeful latter portion. Shooting in rugged Northern Ireland helped give director Sarnoski it’s striking visual style. The film literally moves from darkness to light, with sweeping epic cinematography. The film begins with scenes shot in low light, often illuminated only by firelight, and in shades of gray in a world of hard stone, cold mud and swirling snow in a landscape devoid of most color, apart from the fire. This early section is filled with scenes of violence, but after Jackman’s Robin Hood is gravely wounded and transported to the healing priory, the cinematography gives way to light-filled scenes of ethereal beauty on a peaceful island devoted to healing and humanity.

Hugh Jackman is outstanding as this man who has led a brutal life but is now filled with regret and without hope, who finds an unsought, unexpected second chance for a different end. Repeatedly, Jackman’s Robin Hood encounters people who want to tell him some tale from his own growing legend, tales that he brusquely tells the storyteller are untrue, even if they might be. He is especially angered by stories that frame him as heroic.

Jodie Comer is winning as the healer who cares for the old outlaw, who helps open his eyes to something beyond what this realist sees before him. Likewise, two other characters play a role in this late-life journey, Bill Skarsgard as Little John, Robin’s former partner-in-crime who found a new life in love as a husband and father under an assumed identity, and particularly Murray Bartlett, who strikingly memorable as the knowing, mysterious leper that Robin meets on the island healing refuge.

THE DEATH OF ROBIN HOOD is a remarkable take on a familiar story, which brings out a new more human side, about regrets and redemption. With a sweeping epic style, often gorgeous or gripping photography, it is also filled with fine dramatic performances from a gifted cast. Hugh Jackman is really on a terrific path with one remarkable performance after another, with this film his latest step on that ladder.

DEATH OF ROBIN HOOD opens in theaters on Friday, June 19, 2026.

RATING: 3.5 out of 4 stars

Listen To Hugh Jackman Talk About THE DEATH OF ROBIN HOOD In New Featurette

A24 has released a new video narrated by Hugh Jackman for director Michael Sarnoski’s (A QUIET PLACE: DAY ONE) upcoming film THE DEATH OF ROBIN HOOD.

Grappling with his past after a life of crime and murder, Robin Hood (Jackman) finds himself gravely injured after a battle he thought would be his last. In the hands of a mysterious woman, he is offered a chance at salvation.

Also starring Jodie Comer, Bill Skarsgård, Murray Bartlett and Noah Jupe, THE DEATH OF ROBIN HOOD opens on June 19th.

https://a24films.com/films/the-death-of-robin-hood

This has the same vibe as ROBIN AND MARIAN, the 1976 film that provided a somber, middle-aged sendoff to the legendary figures of Robin Hood and Maid Marian. Directed by Richard Lester and written by James Goldman, the movie stripped away the traditional youthful bravado of the characters to look at the human reality behind the myth.

Read Roger Ebert’s review: https://www.rogerebert.com/reviews/robin-and-marian-1976

The below-the-line artists include Director of Photography Pat Scola, ASC, Production Design by David Lee, Editing by Andrew Mondshein, ACE, Costume Design by Lorna Marie Mugan and Music by Jim Ghedi.

Read our interview with cinematographer Pat Scola during the release of A QUIET PLACE: DAY ONE: https://www.wearemoviegeeks.com/2024/07/cinematographer-pat-scola-discusses-his-work-on-a-quiet-place-day-one-and-sing-sing/

Credit: Courtesy of A24/Aidan Monaghan

28 YEARS LATER – Review

Dr. Kelson (Ralph Fiennes) in Columbia Pictures’ 28 YEARS LATER. Courtesy of Columbia Pictures

28 DAYS LATER was a terrifying horror hit about an viral infection that ripped through Britain, rapidly killing its victims and turning them into angry zombies that spread the infection. Director Danny Boyle and writer Alex Garland followed that up with 28 WEEKS LATER, with the Rage virus morphing and spreading to Europe. Now Boyle and Garland are back for a third round, but this time set farther into the future, with 28 YEARS LATER.

Set much farther in the future from 28 WEEKS LATER, 28 YEARS LATER is not a true sequel that continues the story line of 28 WEEKS LATER, but a new full-on post-apocalyptic story set in the same world. After a prologue that loosely ties this new film to the previous one, in which a boy evades to zombies who kill his parents, the film updates us on the situation 28 years later. The Rage virus has been fought back on the European continent but Britain has been declared a quarantine zone, with the remaining people abandoned to their fate and the waters around Britain patrolled by NATO to contain the virus.

Cillian Murphy was the star of the first two horror films, doesn’t appear in this one (although he is one of the film’s producers). Instead, the main character is a 12-year-old boy named Spike (Alfie Williams), who lives in a colony of survivors on an island off the northeast coast of England.

The people on the island are pretty self-sufficient, growing food and raising domesticated animals, with a structured society with assigned jobs and a store of scavenged items for things they can’t or don’t produce themselves in a pseudo pre-industrial life. Being an island helps keep them safe but they also guard against intruding zombie with a force armed with bows and arrows. The island does have an access to the mainland, a causeway that is accessible only at low tide. which they guard with a gate and sentries. The villagers seem to have created a pretty comfortable life but the one thing they lack is a doctor.

Spike lives with his parents Jamie (Aaron Taylor-Johnson) and Isla (Jodie Comer), and his grandfather. Isla is sick with a mysterious illness that comes and goes, leaving her with terrible headaches and confused when she is in the grip of a bout, but a lively, fun-loving person when she’s feeling well. With mom not feeling well, Spike’s dad Jamie decides his son is ready for the colony’s coming-of-age ritual, at trip to the mainland with his father, to kill his first zombie. Although as the other villagers remind Jamie the usual age for this ritual is 14 or 15, he insists his son is ready, although Spike seems less certain about this, and mostly trying to please his father. Leaving his ailing mother Isla in the care of Spike’s grandfather, father and son load up their arrows, grab their bows and make the trek across the causeway at low tide to the mainland, with a four hour window before the tide covers the causeway blocks retreat.

You know something has to go awry but at first all goes well. Weirdly, while they are on the mainland, Jamie and Spike do not forage for supplies to supplement their meagre ones at the store, but instead mostly stick to the forest, hunting slow-moving zombies.

They come across some, pitiful fat slug-like zombies who crawl slowly across the ground but are still capable of infecting people if they manage to sneak up on one. Spike does make his first kill – shoot them in the neck, dad says – but a few more almost sneak up on dad while he is focused on coaching his young son. The pair encounter some faster-moving zombies and even spot a dreaded Alpha, a large fast zombie with more of a brain than the rest. There are harrowing moments and frightening mad dashes, and they are even forced to hide out in a structure, something they had avoided, and while hiding in an attic, catch sight of a puzzling huge bonfire in the distance, not something likely created by the zombies.

Eventually they do make it back to the causeway. Back on the island, the villagers have planned a celebration for Spike but the boy is both rattled by his experiences and his father’s bragging and exaggerating about his prowess as a zombie-killer, and sneaks off to see his mother, accidentally glimpsing something that rattles him even more. Back home with his grandfather, Spike learns something his father concealed from him, that the bonfire they saw was probably built by a doctor. When Spike, concerned about his sick mother, asks his father about it, the father insists that the doctor has gone mad and isn’t really a doctor anymore

Spike, unsettled by his experience on the mainland and even more by his father’s behavior goes on a quest to the mainland with his sick mother, hoping to find the doctor to cure her.

The doctor is played by Ralph Fiennes, in an excellent performance, although we have to wait quite a while for his appearance which is too brief overall. The rest of the cast is good too, especially young as Spike and the wonderful Jodie Comer, as the sick mother who is charmingly funny, strong-willed and capable in her moments of lucidity. Aaron Taylor-Johnson does a fine job as the father, trying to project an bravura image but revealing a selfishness underneath. A surprise character who makes a brief appearance is a Swedish sailor who was stranded on the mainland by a shipwreck and runs into Spike and Isla on their quest. Coming from Europe, where cell phones and other benefits of modern life still exist, he has strange conversations with young Spike who has known only the medieval-ish world he was born into, making for an interesting bit of post-apocalyptic commentary.

28 YEARS LATER has its moments, with high tension moments and scary zombie attacks and chases. but there is more that is unsettling and even disturbing in the non-zombie human story that unfolds in this post-apocalyptic world. However, the script has its problems, and not everything that happens really makes sense. For example, why would the villagers risk a trip to the mainland only to shoot zombies, and not forage for supplies, which a high-risk for low-yield decision. There are other odd missteps in logic (a pregnant zombie?), while other details are carefully thought-out. It gives the story an unevenness, which is exacerbated by it’s bit episodic nature, with different sections that seem rather disconnected, and finishing with a last scene that mostly just sets up for a sequel (who knows what they would call that one).

On the plus side, along with its fine cast, the film has beautiful, even haunting locations shots, as it was largely shot where it is set, with wonderful north and northeastern locations, although weirdly, they filmmakers chose to shoot on cell phones. The island of Lindisfarne, off the northeast coast of England and connected to the mainland by a low-tide causeway, stands in for the villagers’ island. The setting is lush, green and dotted with ruined castles, abbys and cottages, as well as more modern derelict buildings

28 YEARS LATER is mixed bag, likely to divide audiences, satisfying those who can’t get enough of its zombies more than some others. Still, there are fewer zombie scenes and less pure horror of that type, while it focuses more on the subtler horror of post-apocalyptic life. While it does feature a strong cast and lovely locations, it also has an unsettling, uncomfortable and disturbing non-zombie human story. Add to that, the film’s final sequence is pure set-up for yet another sequel, which also tends to undermine it, although that might be welcome news to those who crave more Rage virus zombies.

28 YEARS LATER opens in theaters on Friday, June 20, 2025.

RATING: 3 out of 4 stars

© Cate Marquis

First Poster Is Here For Danny Boyle’s 28 YEARS LATER

The highly anticipated and long-awaited 3rd film in the 28 DAYS LATER series debuts next summer.

Opening in cinemas on June 20, 2025 is 28 YEARS LATER and Sony Pictures has dropped the first poster for the film starring Jodie Comer, Aaron Taylor-Johnson, Ralph Fiennes, Jack O’Connell. The film is directed by Danny Boyle and written by Alex Garland.

Both 28 DAYS LATER and 28 WEEKS LATER were box office successes. Danny Boyle’s 2002 sleeper hit grossed $64,232,714 worldwide. It starred Cillian Murphy, Naomie Harris, Christopher Eccleston, Megan Burns, and Brendan Gleeson. The “Rage Virus” origin story made BRAVO’s 100th spot on their list of ‘The 100 Scariest Movie Moments’ in a four-episode 2004 television series.

Director Juan Carlos Fresnadillo’s follow-up took in $65,048,725 globally. Twenty eight weeks after a virus has wiped out all human life in the UK, the island is declared safe, and people start to move back, only to be attacked by thousands who have been infected by a new airborne version of the rage virus. The film starred Robert Carlyle, Rose Byrne, Jeremy Renner, Harold Perrineau, Catherine McCormack, Mackintosh Muggleton, Imogen Poots and Idris Elba.

Read The Hollywood Reporter’s 2018 terrific piece on 28 DAYS LATER’s “ability to make zombies terrifying.” https://www.hollywoodreporter.com/movies/movie-news/have-get-a-quiet-place-killed-zombie-genre-1121491/.

DAWN OF THE DEAD, ZOMBIELAND, WORLD WAR Z, TRAIN TO BUSAN, WARM BODIES, and SHAUN OF THE DEAD are perfect examples of how 28 DAYS LATER influenced the zombie genre. It was cool to LOVE zombie films. It still is. THE WALKING DEAD and THE LAST OF US are super successful, with no signs of stopping.

An announced fourth installment of the series, 28 YEARS LATER PART II: THE BONE TEMPLE, was shot back-to-back with 28 YEARS LATER, directed by Nia DaCosta, with Boyle and Garland returning as writers and producers and Murphy reprising his role.

THE BIKERIDERS – Review

This weekend sees the release of a brand new film from an acclaimed director with an all-star cast that’s a cinematic “call-back” to a genre that’s gone AWOL from the multiplexes and even the drive-ins (still enjoying a pandemic “bump) for the last few decades. And no, I’m not talking about the Western, which gallops back with Kevin Costner in the saddle next week. Well, there are a few comparisons, though these flicks began in the fifties and were an exploitation staple (a fave of the “passion pit”) into the swingin’ 70s. Going for more speed than the “oaters” were the “motorcycle gang” action epics, which have played a big role in the futuristic world of Mad Max and Furioisa. Now, this flick has those elements, but it’s more of a historical overview following some guys, and a few gals, who really thought of themselves as a “club” rather than a “gang” which accounts for their more genteel designation as THE BIKERIDERS.

It all begins quietly in mid-70s suburbia as photojournalist Danny Lyon (Mike Faist) catches up with a past “subject”. Kathy (Jodie Comer) tells him of a fateful night at a Chicago bar in the late 50s where she encountered the Vandals Motorcycle Club and became smitten with one of its senior members, the silent smoldering Benny (Austin Butler). When he offers her a lift on his cycle, he remains outside her apartment driving away her current beau. Of course, she had to marry him a couple of weeks later. Kathy then also becomes a part of CVMC and meets its leader/founder Johnny (Tom Hardy) who was inspired by watching THE WILD ONE on TV. His group is more of a family with several of his “surrogate sons”. There’s the lumbering, spacey Zipco (Michael Shannon), and their devious mechanic Cal (Boyd Holbrook) whose past membership with a West Coast club catches up to him when Funny Sonny (Norman Reedus) tracks him down, who then also “changes colors” Through the years the club clashes with rival crews and the local police while slowly expanding. But their growth isn’t fast enough for a much younger “upstart” called “the Kid” (Toby Wallace). Over the miles traveled and wild antics, Danny is recording it all on reel-to-reel tapes and snapping lots of pics. But the good times are threatened by the influx of drug-dealing (and using) returning vets, violent crime, and the Kid’s less “civil’ cohorts which may put an end to Johnny’s dream of leading his pals on an endless cruise down the highways and byways in pursuit of “new kicks”.

As two of the main leads a pair of lauded Brits do a splendid job of delivering accents from the upper Midwest. Comer mixes the Windy City vocal styling with a good chunk of Minnesota (thinking of Marge from the film FARGO) as the no-nonsense devoted biker spouse Kathy. She’s tender and fiercely protective of her Benny while not taking any “guff’ from him as he makes several questionable choices. Hardy’s Johnny is an affable everyman who often opts for the “hard way” in guiding the group and keeping his “alpha dog” rep, though Benny brings out his warm patriarchal instincts. Though he’s often staring intently and saying little, Butler as Benny is a compelling “hair trigger” nearly always settling “beefs” with his fists rather than his words. Shannon only has a few scenes to shine, but he makes the most of this character role giving Zipco a dense clueless sweetness. Ditto for Holbrook when Cal boasts and brags about his garage “magic” to rescue the banged-up bikes from the scrap heap. Faist is the fascinated outsider, drawn to danger even as his “models” are perplexed by his probing and constant documentation. Reedus seems to be having a blast as the “Cali-transplant” as he whips his tangled mane and flashes a set of truly gnarly “chopper” (teeth, not bikes). And hovering at the edge, Wallace simmers with anger and just oozes dread and doom.


Writer/director Jeff Nichols concocts a sprawling multi-decade saga from the real-life Danny Lyon’s same-titled book of photo-essays (many of those great silver images are seen in the end credits). He recreates the eras quite well, but we never really get into the heads of the principals to explore their need for this “fellowship” and their urge to act on any impulse. The near-constant parties (many are almost orgies) harken back to the Roger Corman (miss you, sir) seminal speed thriller WILD ANGELS more than the Brando classic. But Nichols really heightens the tension before the first punch, and doesn’t shy away from the resulting agony (Benny really pays a big price for his stubbornness). As the story progresses Nichols’ vision steers the story into the gangster genre (he’s said that GOODFELLAS was a big influence) with the anti-drug stance of the GODFATHER trilogy. But there’s a bit of a nod to ONCE UPON A TIME IN HOLLYWOOD.. with the darkness of the late 60s souring the “good vibes” of the early part of the decade. Soon the film bounces back and forth through the timeline making it merely a cool nostalgic stitching of various setpieces with this great cast “cosplaying” as the brawlers and “gear-heads”. It all finishes abruptly in the 1970s leaving us wondering just how some of the principals “settled down” and why they chose ths path. THE BIKERIDERS looks and sounds great, but the last stop isn’t worthy of the meandering trek, sputtering when it should soar through the years.

2 out of 4

THE BIKERIDERS is now playing in select theatres

Win Passes To The St. Louis Advance Screening Of THE BIKERIDERS

THE BIKERIDERS captures a rebellious time in America when the culture and people were changing. After a chance encounter at a local bar, strong-willed Kathy (Jodie Comer) is inextricably drawn to Benny (Austin Butler), the newest member of the Midwestern motorcycle club, the Vandals led by the enigmatic Johnny (Tom Hardy). Much like the country around it, the club begins to evolve, transforming from a gathering place for local outsiders into a dangerous underworld of violence, forcing Benny to choose between Kathy and his loyalty to the club.

The cast includes Jodie Comer, Austin Butler, Tom Hardy, Michael Shannon, Mike Fast and Norman Reedus.

From director Jeff Nichols, THE BIKERIDERS opens only in theaters June 21.

The St. Louis advance screening is Tuesday, June 18, 7pm at Marcus Ronnies 20 Cine (5:30PM or earlier Suggested Arrival)

PASS LINK: http://focusfeaturesscreenings.com/hdYPO56716

Please arrive early as seating is not guaranteed.

This film is rated R

Austin Butler, Norman Reedus, Michael Shannon And Tom Hardy Star In New Trailer For Jeff Nichols’s THE BIKERIDERS

Check out the brand new trailer for director Jeff Nichols’s THE BIKERIDERS, in theaters June 21.

The film stars Jodie Comer, Austin Butler and Tom Hardy, Michael Shannon, Mike Faist with Norman Reedus.

THE BIKERIDERS follows the rise of a midwestern motorcycle club, the Vandals. Seen through the lives of its members, the club evolves over the course of a decade from a gathering place for local outsiders into a more sinister gang, threatening the original group’s unique way of life.

Nichols and Shannon worked together on the terrific, but overlooked sci-fi film MIDNIGHT SPECIAL. Read the review here and check out our list of the 5 reasons we thought the 2016 film was one of the best of the year.

For his new film, the director has once again assembled what has come to be known as his “film family” for the shoot, a core group of behind-the-scenes talent, many of whom have been with him from his first feature. They include director of photography Adam Stone, production designer Chad Keith, editor Julie Monroe, and composer David Wingo.

THE BIKERIDERS premiered as the opening film of the 50th Telluride Film Festival on August 31, 2023. Check out THR’s Scott Feinberg’s analysis of the film. https://www.hollywoodreporter.com/movies/movie-news/telluride-awards-analysis-the-bikeriders-jodie-comer-1235578910/

(L-R): Austin Butler as Benny and Jodie Comer as Kathy in director Jeff Nichols’ THE BIKERIDERS, a Focus Features release. Credit: Courtesy of Focus Features. © 2024 Focus Features. All Rights Reserved.

Tom Hardy as Danny in director Jeff Nichols’ THE BIKERIDERS, a Focus Features release. Credit: Kyle Kaplan/Focus Features. © 2024 Focus Features. All Rights Reserved.

Austin Butler as Benny in director Jeff Nichols’ THE BIKERIDERS, a Focus Features release. Credit: Courtesy of Focus Features. © 2024 Focus Features. All Rights Reserved.

Austin Butler as Benny in director Jeff Nichols’ THE BIKERIDERS, a Focus Features release. Credit: Kyle Kaplan/Focus Features. © 2024 Focus Features. All Rights Reserved.

(L to R) Austin Butler as Benny and Tom Hardy as Danny in director Jeff Nichols’ THE BIKERIDERS, a Focus Features release. Credit: Kyle Kaplan/Focus Features. © 2024 Focus Features. All Rights Reserved.

Michael Shannon as Zipco in director Jeff Nichols’ THE BIKERIDERS, a Focus Features release. Credit: Courtesy of Focus Features. © 2024 Focus Features. All Rights Reserved.

Matt Damon and Adam Driver in Ridley Scott’s THE LAST DUEL Arrives on 4K Ultra HD, Blu-ray and DVD December 14th

“The truth does not matter, there is only the power of men.”

Matt Damon and Jodie Comer seen on set of the Last Duel in Ireland. 30 Sep 2020 Pictured: Matt Damon and Jodie Cromer. Photo credit: MEGA TheMegaAgency.com +1 888 505 6342

20th Century Studios’ The Last Duel Arrives on Digital November 30 and on 4K Ultra HD, Blu-ray and DVD December 14

20th Century Studios’ historical epic, The Last Duel, unravels the true story about France’s last sanctioned duel. Directed by the critically acclaimed Ridley Scott, the film stars Jodie Comer and Adam Driver as well as Academy Award® winners Matt Damon and Ben Affleck. Certified-Fresh on Rotten Tomatoes™, The Last Duel will be available on Digital November 30 and on 4K UHD, Blu-ray and DVD December 14.

Jodie Comer is spellbinding in this tale of betrayal and vengeance set in 14th century France from visionary filmmaker Ridley Scott. Based on actual events, the film stars Matt Damon and Adam Driver as friends Jean de Carrouges and Jacques Le Gris, two knights who must fight to the death after de Carrouges’s wife (Comer) accuses Le Gris of assault.

20th Century Studios’ The Last Duel Bonus Features*

  • The Making of The Last Duel – With the documentary “The Making of The Last Duel,” get unprecedented access to renowned director Ridley Scott as he collaborates with the cast and crew to make critical decisions about location, cinematography and performances.

*bonus features vary by product and retailer

Cast                            

Matt Damon as Sir Jean de Carrouges

Adam Driver as Jacques Le Gris

Jodie Comer as Marguerite de Carrouges

Ben Affleck as Pierre d’Alençon

Directed by                            

Ridley Scott

THE LAST DUEL (2021) – Review

Matt Damon as Jean de Carrouges and Adam Driver as Jacques LeGris in 20th Century Studios’ THE LAST DUEL. Photo by Patrick Redmond. © 2021 20th Century Studios. All Rights Reserved.

Now, here’s some “end of the year” old-school Hollywood spectacle-blockbuster “award fodder”. It takes place over 600 years ago, a true-life medieval tale set in “days of old, when knights were bold”. And it turns out those armored warriors were a lot like folks today (as Us magazine loves to say, “Stars, they’re just like us”…sure). There are issues at the heart of this story that still resonate, even dominating the current debates and elections. Yes, this has lots of swordplay, but inflated egos fuel the flames of deadly combat. And the end result is helmed by a director known for historical epics like GLADIATOR (hey, his first film way back in 1977 was THE DUELLISTS), though many forget they he also was behind the camera on THELMA AND LOUISE. Add a trio of screenwriters which includes actors, directors, and producers and you’ve got a most interesting mix for the epic yet intimate THE LAST DUEL.

The “inspired by true events” tale begins in late 1300s France, mere moments before the big showdown between Sir Jean de Carrouges (Matt Damon) and Jacques de Gris (Adam Driver). As their aides assist them in donning their battle amour, countless spectators, including the royalty, line the long jousting field, as hundreds crowd around, many climbing the walls, of the massive venue. The scene shifts abruptly as the title chapter heading takes us back several years for Sir Jean’s version of the lead-up to this day. He and Jacques once fought side by side on the battlefield, pledging their loyalty and service to a member of the court of King Charles VI, Count Pierre (Ben Affleck). Later Jean returns to his family home, a castle crushed by weighty debts. He gets a visit from Jacques, who is now a tax collector for Pierre, and is warned of the hefty amount owed in back taxes. This reminds Jean that he has no heirs as his wife and only son passed away years ago. A visit to the disgraced Tribouville estate (Sir Robert had collaborated with enemies of the crown) prompts Jean to inquire about the family’s lovely single daughter, Marguerite (Jodie Comer). Eager to erase his tarnished name, Robert agrees to Jean’s marriage proposal and provides several prime pieces of land as a dowry. But it’s not long after the wedding that Jacques claims some of the property in lieu of back taxes. This drives a wedge between the old friends, as Jean even files a lawsuit. When that fails, Jean tries to mend fences by attending a festival in honor of Count Pierre. It’s there that Jacques meets and becomes somewhat smitten with Marguerite. His ardor leads to the incident that instigates their “fight to the death”. The film has two other chapter titles, with the events told from the perspective of both Jacques and Marguerite before the fateful clash of honor between the two former friends.

The power of the film is greatly bolstered by the talented cast of screen vets and a very promising newcomer. Regarding the actors, it may be best to start with the duo at the center of the title duel. Damon is quite compelling as the brusque, often boastful knight Jean, proudly trimming his beard to accent his jagged facial battle scar. He thinks of himself as a noble warrior for his country, though his plans for glory are hindered by his ego that’s paired with an obstinant streak. Away from battle, he rules his castle with an iron glove, showing little passion for his bride outside of the bed chambers (which is his own battlefield of thwarted procreation). As his BFF turned foe, Driver as Jacque is also a fearsome fighter, though he’s more dangerous out of the armor. He juggles many plots and schemes as he presents a different face to everyone. Driver gets a chance to display his comic skills as he joins the royal court debauchery with zeal while insulting all that dare to join him. And Driver certainly returns to “the dark side” in the different views of the “incident”. That scene is compelling and horrific thanks to the splendid performance by the aforementioned newcomer (a critical favorite in the lead on TV with “Killing Eve”, she made the leap to the movies with the very recent FREE GUY) Comer. She’s neither wilted victim nor “damsel in distress” as Marguerite, but rather a woman rebelling against the norms of the age. After enduring a passion-free marriage, her spirit is energized by the chance to manage the estate (she enjoys doing the books and getting her hands dirty). When the”event’ occurs she’s determined to stand up to those who would consider her “property”. Though she watches from the sidelines, Comer’s eyes and body language tell us that she’s right there in the thick of the fight. And though we see little of him in the “Jean chapter”, Affleck shines in one the year’s great supporting performances as the endearingly arrogant and lecherous Pierre. He steals nearly all of his scenes, whether reading prose to a belittled pack of dinner guests or as he tops off the evening with a naked multi-partnered bedroom romp (while his very pregnant wife sleeps next door). With his blonde hair, Affleck is the campiest “Queen B”. Rounding out the cast is Harriet Walter as the toxic mother-in-law of Marguerite.

Yes, this is the latest work from veteran filmmaker Ridley Scott (he’s now in his fifth decade behind the camera), who teams again with Damon (THE MARTIAN) for a riveting big screen (really try and catch it on the biggest one possible) entertainment with a most contemporary message (don’t be put off, thinking it’s too “woke”). Of course he’s got an excellent “map’ in the form of the screenplay adaptation (from the book by Eric Jager) by Damon, Affleck (their first collaboration since the Oscar-winning GOOD WILL HUNTING), and Nicole Holofcener (celebrated writer/director of ENOUGH SAID). It was a wise move to get such a team since the film hinges on three distinct interpretations of the “insult”. It’s amazing that a 1300s story can relate so well to the current climate, as middle-aged and elderly (often white) men make ludicrous declarations concerning the female reproductive system. Plus we get to see exchanges through the eyes of a “predator” who can’t fathom the idea of rejection from a woman. It’s incisive and smart, while never insisting that either of the duellists is wholly good (one is perhaps greatly delusional). We’re getting a lot more than a “gritter” take on the kings and knights epic. Oh but, the duel itself is more than worth the build-up, making us wince in pain as we try to avert our eyes (it’s not just about knocking you off your steed) to the brutality. Every artist excels in recreating the time period, from make-up to art direction to costume design. Plus the story really comes to life thanks to the subtle scoring of Harry Gregson-Williams, the cinematography of Darlusz Wolski, and the superb editing of Claire Simpson. Everything and everyone truly works at the top of their skills to make the medieval but very relevant THE LAST DUEL one of this year’s best films.

4 Out 4

THE LAST DUEL is now playing in theatres everywhere

FREE GUY Arrives On Digital, September 28, and On 4K Ultra HD, Blu-ray And DVD, October 12

(L-R): Lil Rel Howery as Buddy and Ryan Reynolds as Guy in 20th Century Studios’ FREE GUY. Courtesy of 20th Century Studios. © 2021 20th Century Studios. All Rights Reserved.

20th Century Studios’ action-comedy Free Guy debuts on all major digital platforms on September 28 and on 4K Ultra HD, Blu-ray and DVD on October 12. Consumers can enjoy never-before-seen bonus material including two deleted scenes, an extended scene, bloopers and making-of featurettes.

Read WAMG’s review HERE.

A bank teller (Ryan Reynolds) who discovers he is actually a background player in an open-world video game decides to become the hero of his own story – one he rewrites himself. Now, in a world where there are no limits, he is determined to be the guy who saves his world his way… before it’s too late.

20th Century Studios’ Free Guy Bonus Features*

  • Deleted and Extended Scenes
    • Guy and Buddy Hit the Beach
    • Hot Nuts Gets Blown
    • NPC Rally (Extended)
  • Gag Reel
  • Dude vs Guy – Join Ryan Reynolds, director Shawn Levy and the creative and stunt teams as they reveal the innovative process of creating Free Guy’s ultimate showdown between Guy and the wildly amped-up, spray-tanned, frosted-tipped version of himself known as Dude.
  • Creating Molotovgirl – Jodie Comer transforms from a brilliant programmer to her fierce avatar in Free Guy. Watch as the award-winning action star and filmmakers deconstruct the conceptualization, evolution and execution of bringing Molotovgirl to life.
  • It’s Taika’s World – Free Guy’s outrageous action may exist in a virtual world, but Taika Waititi makes the real world just as crazy with the over-the-top Antwan. See him at work in this entertaining showcase of a genuinely talented and hilarious performer.
  • Welcome to Free City – Delve into the reality-skewing universe that is Free City, as revealed by director Shawn Levy, the cast, and its inventive creative teams. Find out how they transformed a real metropolis into a virtual playground where anything is possible.

*bonus features vary by product and retailer

Cast: Ryan Reynolds as Guy
Jodie Comer as Millie / Molotovgirl
Lil Rel Howery as Buddy
Joe Keery as Keys
Utkarsh Ambudkar as Mouser
and Taika Waititi as Antwan

Directed by: Shawn Levy

Produced by: Ryan Reynolds, p.g.a.
Shawn Levy, p.g.a.
Sarah Schechter
Greg Berlanti
Adam Kolbrenner

Executive Producers: Mary McLaglen
Josh McLaglen
George Dewey
Dan Levine
Michael Riley McGrath

Screenplay by: Matt Lieberman
and Zak Penn

Story by: Matt Lieberman

Music by: Christophe Beck

Ryan Reynolds as Guy and Jodie Comer as Molotov Girl in 20th Century Studios’ FREE GUY. Courtesy of 20th Century Studios. © 2021 20th Century Studios. All Rights Reserved.

20th Century Studios’ Free Guy Product Specifications

Street Date: 

  • Digital: September 28
  • Physical: October 12

Product SKUs:  Digital: 4K UHD, HD, SD

Physical: 4K Ultra HD Combo Pack (4K UHD + Blu-ray + Digital Code), Blu-ray Combo Pack (Blu-ray + Digital Code) & DVD  

Feature Run Time:  Approx. 115 minutes

Rating:  U.S. Rated PG-13 – Bonus material not rated       

Aspect Ratio: Digital: 2.39 and Physical: 2.39:1

U.S. Audio: 

  • 4K Ultra HD:  English DVS 2.0 Dolby Digital, English 7.1.4 Dolby Atmos, French 7.1 Dolby Digital Plus, French 5.1 Dolby Digital, Spanish 7.1 Dolby Digital Plus
  • Blu-ray: English 7.1 DTS-HDMA, English DVS 2.0 Dolby Digital, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital
  • DVD: English 5.1 Dolby, English DVS 2.0 Dolby, French 5.1 Dolby, Spanish 5.1 Dolby
  • Digital: English Dolby Atmos (UHD only, some platforms), English 5.1 & 2.0 Dolby Digital, Spanish 5.1 & 2.0 Dolby Digital, French 5.1 & 2.0 Dolby Digital, English Descriptive Audio 2.0 Dolby Digital (some platforms)

U.S. Subtitles:

  • 4K Ultra HD: English SDH, Spanish, French
  • Blu-ray: English SDH, Spanish, French
  • DVD: English SDH, Spanish, French
  • Digital: English SDH, French, Spanish (some platforms)

Social Media

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