The Last Duel 2021 123movies

Watch: The Last Duel 2021 123movies, Full Movie Online – Based on the true story of France’s last trial by combat in the Middle Ages. Knight Jean de Carrouges challenges his former friend Jacques Le Gris to a duel after Jean’s wife Marguerite accuses Le Gris of rape. Told in multiple “Rashomon-style” points of view..
Plot: King Charles VI declares that Knight Jean de Carrouges settle his dispute with his squire, Jacques Le Gris, by challenging him to a duel.
Smart Tags: #14th_century #duel #battle #husband_wife_relationship #historical_drama #based_on_book #france #medieval_times #jousting #rough_sex #female_nudity #castle #nonlinear_timeline #rape #based_on_true_story #knight #love #fight #armor #historical_event #king_of_france

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Ratings:

	7.4/10 Votes: 155,466
	85% | RottenTomatoes
	67/100 | MetaCritic
	N/A Votes: 2544 Popularity: 61.051 | TMDB

Reviews:

FULL SPOILER-FREE REVIEW @ https://www.msbreviews.com/movie-reviews/the-last-duel-spoiler-free-review

“The Last Duel became one of my favorite Ridley Scott films, boasting a commanding Jodie Comer who delivers one of the year’s most emotionally powerful performances.

Adam Driver, Matt Damon, and Ben Affleck all offer remarkable interpretations, but the actress fully embodies Marguerite de Carrouges’ courage amid so much pain and suffering in a theme-heavy, brutally shocking true story.

The perspective-based narrative structure is interesting and efficient enough to overcome its inevitable repeatability issues. Holding technical attributes that will surely get recognition in the awards season – especially Harry Gregson-Williams’ score – the actual duel is one of the most nerve-wracking sequences of the last few years, compensating the audience’s patience with a satisfying climax.

Watch it on the big screen, if possible.”

Rating: A-

There is definitely something of Kurosawa’s “Rashomon” (1950) in the compelling watch that Sir Ridley Scott has stitched together here, depicting well, as it does, the rather pyramidical feudal system that provided the legal and cultural structure of life in 14th century Europe. The film centres around allegations made by “Lady Marguerite” (Jodie Comer) that during the absence of her war-hero husband “Sir Jean” (Matt Damon) she was subjected to the unwanted attentions of powerful squire “le Gris” (Adam Driver). By way of a legal presentation to King Charles VI, the narrative now presents us with three equally plausible tales of just how these events may have unfolded. A tale of the initial friendliness between the men and of the ambition, greed, politics and fickleness that led to their current predicament. I cannot say that Damon is particularly good, nor is the blondly coiffured Ben Affleck particularly impressive as their overlord “Pierre d’Alencon”, but both Driver and Comer offer us strong and characterful performances as each of their stories are rendered to the Court. The different versions are largely the same, there are but subtle and nuanced variations that you might, were you to be on a jury, have to identify and evaluate – in the end there are no forensics, there is no evidence as such – it is all about whom you believe. Again, this makes the film more interesting. It’s not just whom you believe, but whom you want to believe, whom you think you ought to believe. There is the powerful church to consider; the local lords – decisions cannot be made according simply to any “rule of Law” or “code of chivalry”. The duel – letting God decide – is the culmination (we see this at the very start of the film before our deliberations begin), but the cleverness of Scott and the writers here is to present us with as near facts as they can – we are left to make our own assessment. We are left to look at the way in which land and people – high born, or otherwise – were pawns in a game knowingly, or otherwise, that frequently became matters of life or death. The photography reminded me a little of the recent “The King” (2019) in that the filthy, muddy, damp and rat-infested conditions in which even the grandees lived are presented authentically and that adds loads to the overall feel of the film. The weather being often cold and wet, the battles being fierce and bloody – all of this contributes well to the strong visual imangery. It is a long film, but I found the episodic nature carried that rather well and the last twenty minutes are certainly worth sticking around for.

Scott returns to form
Seen the film at a screening at the Venice Film Festival.

Even if there is no way of telling that what The Last Duel portrays is entirely how the events took place, or as authentic as it seems to be in depicting middle ages, one thing is certain: it belongs to Ridley Scott’s better works, and proves that the 84-year-old filmmaker is still able to deliver memorable films.

The dramatization takes on a three act narrative frame that resembles partly that of Kurosawa’s masterpiece Rashomon: three chapters narrate the events, each from the point of view of one of the three protagonists, the two duellists and Marguerite.

The film clearly seeks a historical authenticity, and seems to succeed at achieving it. The almost word-by-word, blow-by-blow adherence to the accounts of the duel seem to confirm such an achievement, and is in a way reminiscent of Scott’s debut film The Duellists, known for its methodical reconstruction.

The true essence of this film’s stance is the idea that through the study of history more can be learnt about the contemporary world, the past as a mirror of the present.

The Last Duel is, in the end, a film that deals with the present by showing the past, and does so in an exquisite and entertaining fashion.

(extract from my review on comeandreview)

Dull Drama Defines Scott’s ‘Duel’
They don’t make historical epics anymore. That’s still true, seeing as Ridley Scott’s The Last Duel can’t really qualify under ‘epic’. But for a time, in the early years of this century, they did make historical epics. And Ridley Scott made some of the very best. With Gladiator, Kingdom of Heaven, and to an extent Robin Hood and Exodus: Gods and Kings, Scott created his own niche genre of brawny, muscular, elegantly made historical action epics. Movies that teenage boys could pump fists over, but that also felt like “art”, smart and prestigious. The disappointment of The Last Duel is that it is not interested in belonging to this lineage. The Last Duel is interested in one thing, theme, to the detriment of story, drama, tension, and excitement.

How’s this as a thrilling idea for a movie? A French nobleman challenges another to a duel to the death in order to prove his wife’s allegations of rape are true. Very thrilling, that’s how. And inherently dramatic and quite fascinating from a historical perspective. But The Last Duel treats the fantastic real-life story of the duel between Jean de Carrouges and Jacques le Gris as but a jumping off point for what writers Ben Affleck, Matt Damon, and Nicole Holofcener really care about; topical issues. The bulk of this movie is scenes depicting or revolving around an incident of rape. Shown in three chapters, from three points of view, these scenes take up a tremendous amount of time, retread much territory, and differ very little on their way to making a pretty obvious point about female agency in 1300s France. The movie is meant to give literary types lots of thematic gristle to chew on. Affleck, Damon, and Holofcener want to say things about society, and they want us to quibble over what exactly they are saying about it. I’m sorry, but I can’t seem to care what they have to say about society. I bought my ticket for something that would affect me on a visceral level, not for a discussion prompt.

The actors will no doubt garner a lot of attention. No one is either good or bad enough, however, to really warrant a mention. But in the interest of prosperity, Damon plays a confused meathead, Driver a self-imagined lothario. Affleck is your standard posh aristocrat, and Comer is your standard strong, proud, wrongfully wronged lady. None of these actors even try to put on French accents. Regardless of how such attempts might have sounded, it would make their performances something other than inoffensively passable.

Don’t worry, I’ll get to what works about The Last Duel. This isn’t a disaster. But first…Ridley Scott, one of our best filmmakers, shouldn’t be making films that look this bad. I hate to say it, because nobody appreciates the accessible artistic grace that Scott can infuse into something even as schlocky as Hannibal as much as I do, but his newest movie looks like crap. White diffused light filtering through windows is a blight on cinema. The grey screen that is seemingly overlayed on top of each frame of this movie is a felony. There are about five great shots. Everything else is depressingly dim.

It sure sounds oafish of me to say it, but the best thing about The Last Duel is the action. The film kicks off with a thunderous battle scene, revisited later, where all the best Ridley Scott qualities are present. He has a way of shooting a line of charging horses, the clashes of swords, blood sprays and mud splashes like nobody else not named Mel Gibson can. There are a couple brief battles interspersed throughout the sitting around in dark rooms scenes, and they’re just as great. Then comes the duel, where we feel, for the first time, some real tension. It rivals Gladiator’s final swordfight for sharpness and palpable danger. Good stuff. Also the only part of the movie where I feel genuine passion coming through the screen from Scott.

Most of the time, The Last Duel feels inert. I won’t spend my review speculating as to what message the filmmakers want me to get, because I didn’t spend the film caring about such things. Social commentary is an optional garnish on a movie. Gladiator and Kingdom of Heaven garnished their stories with social themes, but underneath was real narrative propulsion, strong characters, solid dramatic storytelling. They were prime-cut medium rare steaks with chives sprinkled on top. The Last Duel is a plate of chives. It pains me to write such things. As one of the country’s leading Ridley Scott fans, I was more excited for this film than anybody else. While there is enough respectability here to keep it out of the dust bin, and enough good action to make it worth a swords-and-horses fan’s time, The Last Duel didn’t stir me the way a good Ridley Scott epic does. I hope he has a couple more historical epics left in the tank, because he is the keeper of the flame, and when he’s on, with a strong narrative and a creative spark, the results can be exquisite.

61/100.

Other Information:

Original Language en
Runtime 2 hr 32 min (152 min)
Budget 100000000
Revenue 30500000
Status Released
Rated R
Genre Action, Drama, History
Director Ridley Scott
Writer Nicole Holofcener, Ben Affleck, Matt Damon
Actors Matt Damon, Adam Driver, Jodie Comer
Country United Kingdom, United States
Awards 4 wins & 41 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Atmos
Aspect Ratio 2.39 : 1
Camera Arri Alexa Mini LF, Panavision 65 Vintage, Angenieux Optimo, Type EZ-1 and EZ-2 Lenses
Laboratory Company 3, Los Angeles (CA), USA (color and finish) (digital intermediate), Screen Scene, Dublin, Ireland (dailies)
Film Length N/A
Negative Format Codex
Cinematographic Process ARRIRAW (4.5K) (source format), Digital Intermediate (4K) (master format), Dolby Vision
Printed Film Format DCP Digital Cinema Package