'The Last Duel' pits Adam Driver and Matt Damon in a medieval duel to the death over he-said/she-said accounts of an assault. The only winner here, however, are the medieval himbo haircuts. Our review.
, is calling the shots. This is the first time that Damon and Affleck have reunited as a screenwriting team since they nabbed Oscars forwith no less than Nicole Holofcener also adding her prodigious chops and a needed female perspective to the script. Moreover, the movie’s aim is to revisit this curious scandal of yesteryear with the hope of tying it to our own ongoing moment of reckoning.
Right, sorry: The story, according to Jean de Carrouges, is one of a loyal subject who, having fought for king and country, feels he’s entitled to respect, status, and power. Every slight is a personal offensive of the highest order, every snub a full-frontal attack on his standing. The fact that his wife may have been assaulted by his best friend is less egregious to him than having been passed over for a captain’s position.
That’s not where the jolt come from, however. It’s the great golden-haired anachronism d’Alençon, courtesy of an off-the-leash Affleck, that gives this section a batshit shock treatment. “Come on in, take your pants off,” the Count casually says when Le Gris shows up in the middle of an orgy, and it only gets more louche and loose from there.
But thanks to the snail-trails left over from the first two chapters, and the heavy residue of camp from Chapter 2 in particular, the proceedings are tainted to a near-detrimental degree. The experience is notRedux so much as enduring a bad rash. This survivor has been given almost no sense of autonomy and the rawest of deals, a combination handed to too many women before her and too many women after her.
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