Much Ado About Nothing (2013)

The critic calls it one of the liveliest and most delightful films of the year, highlighting its screwball energy and modern, pop-cultural take on the play.

Edelstein calls Whedon's version the smoothest and most enjoyable Shakespeare comedy on film, crediting the director's intuitive grasp of the text and the cast's natural delivery of the language. He singles out Nathan Fillion's understated Dogberry for particular praise and notes the film's balance of comedy and darker undertones.

Whedon's joyful, contemporary adaptation brings swiftness and fluency to the play's barbed banter and trials of love, with the pen proving mightier than the sword. The strong female characters, utopian domestic space, and especially Amy Acker's show-stopping Beatrice are singled out for praise.

The critic praises Whedon's whipcrack wit as a perfect fit for the material and calls the intimate black-and-white home-shot film a fizzily fresh take. The well-rounded cast, especially Amy Acker's Beatrice, is highlighted as making the adaptation shine.

The critic finds Whedon's film an unlooked-for pleasure, noting it as the most American Shakespeare movie with crisp naturalistic line readings and a romance of the one percent. Singles out how the dark side of the play emerges most forcefully here, with Whedon’s precise reading making the play new again.

The film is described as a tasty, good-humored and unpretentious backyard treat and palate cleanser shot quickly in the director’s home.

Whedon's minuscule-budget home movie is a satisfying cinematic take on the Bard that feels intimate and personal while remaining worthy of the big screen. The witty, good-natured and lovable DIY production, including scenes in a children's bedroom and laundry room, is singled out for praise.

The review finds Whedon's modern-dress, black-and-white adaptation lively and engaging thanks to its cast of familiar faces and playful tone. It praises the film's intimate, home-movie feel while noting it stays true to the play's romantic and comedic spirit.

The critic finds Joss Whedon's black-and-white, modern-day take falls a little flat compared to Kenneth Branagh's version. Amy Acker's nuanced Beatrice and Nathan Fillion's energetic Dogberry are singled out as what rescues the low-budget adaptation.

The review appreciates the film's comic energy and the cast's physicality but criticizes the indifferent handling of Shakespeare's language in a modern setting and the amateurish black-and-white aesthetic. It concludes that the project feels like a calculated home movie lacking deeper personal connection from the director.

The critic finds Joss Whedon's modern-dress, black-and-white adaptation too tasteful and self-conscious, resulting in a version that feels weirdly cramped and claustrophobic rather than energetic or unconventional.

The critic calls the adaptation joyous and intimate, a triumph of micro-budget ingenuity with magnetic chemistry between the leads. Singles out the fresh, vigorous take on the text and the wit, warmth and love for its characters that make it entirely joyous.

Whedon's adaptation is a smart, sexy, and funny take on the classic play, a masterpiece that is consistently hilarious with no beats amiss.

Whedon pulls off a delightful, DIY modern-day black-and-white adaptation shot at his home; its off-the-cuff nature is not flawless but from beginning to end delightful, one of 2012's most unexpected treats.

Whedon's version mixes modern elements with the play's social codes, developing into an emotionally complex tale that justifies itself; it breathes fresh life into the story with modern ethos and energy, ranking among the best adaptations.

The critic calls it the best home movie ever and a sublime contemporary take that feels like a champagne-drenched weekend with friends. Singles out the sparkling wit and standout performances, especially Amy Acker’s Beatrice, while noting some limitations in Alexis Denisof’s early scenes.

The review finds Whedon's contemporary black-and-white adaptation nearly as pleasing as Branagh's, highlighting the strong performances especially by Denisof and Acker as Benedick and Beatrice, and Nathan Fillion as Dogberry, while noting some minor issues with modernizing the setting.

The critic praises the superb cast, clever staging, and Whedon's understanding of dialogue, particularly the electric chemistry between Beatrice and Benedick, while noting the limitations of the micro-budget and finding the Claudio/Hero subplot less engaging.

The review finds the film disappointingly mediocre overall despite Whedon's daring choice to follow up The Avengers with a quick, low-budget Shakespeare adaptation. It singles out the miscasting of Alexis Denisof as Benedick as the central flaw that sinks the romantic balance with Amy Acker's Beatrice.