The Last Duel (2021)

The critic considers the film one of Ridley Scott’s most successful period works, praising its nuanced storytelling on an epic scale. They single out Jodie Comer’s performance as the character who ultimately finds her own voice.

Ebiri finds the film unexpectedly entertaining and sees it as a forceful denunciation of patriarchal power. He especially praises Ben Affleck’s sly, funny performance as the corrupt Count Pierre.

Croll finds the film an intelligent, daring epic, though its shifts in tone and style can feel awkward. He praises Ben Affleck’s performance and the film’s collaborative storytelling, while noting Jodie Comer finally gets room to shine in the last chapter.

The review finds the film thought-provoking and dexterous, though its long running time becomes unwieldy. It singles out Jodie Comer as the cast’s standout and the film’s emotional center.

Chang finds the film an ingenious, darkly funny indictment of patriarchy, though its perspective-shifting structure can make the rape scene feel repetitive. He praises Jodie Comer’s intelligent, empathetic performance, which makes Marguerite the film’s conscience.

Dowd finds the film’s perspective-shifting structure ultimately makes a forceful case against treating the truth as unknowable. He praises its blunt, era-crossing outrage, while noting that Marguerite remains dramatically underdeveloped until the final chapter.

The critic finds the film smartly acted and insightfully written, despite repetition and some excessive battle violence. They praise the performances and the screenplay’s layered perspectives, especially how Marguerite’s account exposes the men’s self-serving views.

Newland finds the film hokey and its #MeToo reading somewhat surface-level, but ultimately thrilling. She praises its compelling final crescendo and its challenge to the macho perspective of historical epics.

Jolin finds the film’s final perspective compelling, though its three-part structure can test the viewer’s patience. He praises Jodie Comer’s portrayal of Marguerite while faulting the climactic duel for sidelining her.

The accessible page does not reveal the critic’s verdict. It contains no readable assessment or specific praise or complaint.

The available page does not reveal the critic’s verdict. It provides no specific praise or complaint beyond identifying the film as a medieval epic.

O'Sullivan finds the film handsome and well-researched but says its critique of misogyny never lands effectively. She praises Jodie Comer’s performance, while criticizing the dialogue and uneven accents.

Nelson finds the film bleak and mostly familiar, but considers its three-perspective structure smart. She singles out the screenplay’s shifting accounts of the same events.

The review finds the historical epic overly muscular, despite Jodie Comer’s strong performance. It singles out Comer as soaring in her portrayal of a woman repeatedly wronged.

Gleiberman finds the film intriguing but overcooked, with its three-perspective structure eventually draining the story of momentum. He praises Jodie Comer’s calm, fiery screen presence and Ben Affleck’s entertaining performance.

Rooney finds the film uneven and overlong, though its final act gives the story emotional force. He especially praises Jodie Comer’s nuanced, wrenching performance as Marguerite.

The critic finds the film a cleverly crafted but ultimately empty extravaganza, with its treatment of rape and gender imbalance undermining its ambitions. The visceral sound and spectacle of the climactic duel are singled out for praise.

Romney finds the film overlong and weighed down by spectacle, ultimately failing to make its central story compelling. He singles out Nicole Holofcener’s section for opening up Marguerite’s perspective and providing the most interesting part of the film.

Brody finds the film a failed, exploitative attempt at a #MeToo story. He faults its thin dialogue and criticizes Scott for showing the rape rather than trusting Marguerite’s testimony.

Motamayor praises the film as a nuanced, well-acted epic with grippingly brutal sword fights, while noting its female side characters are underdeveloped. He singles out Jodie Comer’s performance and the shifting perspectives as especially effective, but criticizes the rape scene’s length and emphasis.

Zigler finds the film a compelling, empathetic medieval epic that examines how men’s perspectives shape rape culture. She especially praises its three-part structure for creating a layered narrative and revealing the characters’ conflicting worldviews.

Kaye finds the film gripping and timely, though its three-perspective structure delays the heart of the story. He especially praises Jodie Comer’s quietly powerful performance as Marguerite.

Worthington finds the film an effective, tonally daring indictment of rape culture and male self-delusion, despite some roughness in its early sections. He especially praises Jodie Comer’s restrained, expressive performance as Marguerite.

The critic finds the film a lively, accomplished period drama, though its contemporary gender themes can feel heavy-handed. They especially praise Jodie Comer’s nuanced performance and the film’s shifting perspectives on events.

Nayman finds the film intellectually ambitious and more compelling than failed Oscar bait, with a tragic, unsentimental critique of power and gender. He especially praises Jodie Comer’s character gaining subjectivity and the brutal final duel’s memorable, bitter spectacle.

The headline suggests the critic finds the film entertainingly overripe. The accessible page provides no further detail about what the critic praises.

The review finds the film gripping and important, but criticizes its structure for sidelining Marguerite for much of the story. It singles out Jodie Comer’s honest, moving performance as the film’s saving strength.

Titmarsh finds plenty to enjoy in Scott’s brisk, visually rich film, but argues it gives its central woman too little voice. She praises the detailed medieval settings and the riveting final duel.

Bunbury finds the film handsome and well-intentioned but overly blunt and repetitive, with too little nuance or emotional texture. She praises Scott’s sweeping visuals and spectacular final duel, while finding the historical drama’s modern relevance too heavily emphasized.

The critic finds the film an inconsistent, ultimately muddled mystery, though still a valiant effort. Damon’s performance and the cinematography stand out as its strongest elements.

The critic strongly dislikes the film and doubts its quality, finding its storytelling heavy-handed and unconvincing. They particularly fault the repeated assault scenes and the dull visual palette, while also criticizing the duel’s lack of convincing period combat.