![]() The film first omnisciently portrays all three perspectives (one being the husband’s) to imbue the audience with the power of divine judgment and subtly, but succinctly, guide it toward the truth. Based on a true story, the film cleverly twists historical accounts to send a message, paralleling contemporary cases of sexual assault. With their pride on the line and no witnesses to attest to the truth, they leave the verdict in the hands of God. At the core of the film, the rape trial becomes a debate of his word versus hers. In principle, “The Last Duel” is a noble effort, heralding a unique perspective on the #MeToo of antiquity. ![]() Riddled with jarring contrasts in tone, dialogue, and character development between its first and second halves, the film clumsily clashes with itself. The movie follows the final severing of a dying friendship between knight Jean de Carrouges (Matt Damon) and squire Jacques Le Gris (Adam Driver) when De Carrouges accuses Le Gris of raping his wife, Marguerite (Jodie Comer). As Ridley Scott’s latest addition to a stagnating filmography, “The Last Duel” lands in this latter rung, struggling to maintain narrative consistency. ![]() Where a great film evokes excitement and contemplation, a lesser one stumbles and is forgotten. ![]()
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