this is Jodie Comer's show; the "Killing Eve" star is the glue that holds the whole thing together, and the screen is never more alive than when she is on it
Ridley Scott delivers another dazzling visual feast, powered with a plethora of fine performances. It's just a shame that a film centred around a woman gives her so little time
by the time the film gets round to showing its hand as an episode of Medieval #MeToo, it has numbed us with so much flash and fustian that the heart of the story has almost been drowned
appealing turns from Ben Affleck and Jodie Comer can't save Ridley Scott's bloated historical epic; the film feeds into the very power structure it sets out to debunk, a frustrating miss that threatens to cloud Comer's poignant performance
adapting Eric Jager's 2004 non-fiction book with screenwriters Matt Damon, Ben Affleck and Nicole Holofcener, Ridley Scott spins a medieval yarn that is by turns gruesome, grotesque, gorgeous, and inconsistent
"The Last Duel" rises against any skepticism with a nuanced, complex script, phenomenal performances that should be studied in acting class, and some of the best medieval fight scenes put to the screen
"The Last Duel" reveals itself as something all too rare on the current Hollywood field of battle: an intelligent and genuinely daring big budget melee that is - above all else - the product of recognizable artistic collaboration.
"The Last Duel" is an engrossing drama of ambition, romance, and political chicanery; despite a brief action interlude here or there, "The Last Duel" turns out to be a lavishly convoluted and, at times, rather interesting medieval soap opera
by Ryan Leston [Daily Telegraph (UK) ]
by Jonathan Romney [The Guardian ]
