Review: 'Much Ado About Nothing', Directed by Joss Whedon

So you're Joss Whedon and you've just blown the box office to smithereens with the $1B-grossing 'Avengers'. How exactly do you top that? Simple answer is that you don't bother to try, and head as far in the opposite direction as possible. How about tackling one of Shakespeare's most frequently adapted plays, Much Ado About Nothing? Rounding up all of his old friends for a 12-day shoot at his own house, Whedon has breathed new life into one of the original romantic comedies, and in doing so has achieved a feat that can't be measured by dollars alone.

Many have tried and failed to make Shakespeare relevant and modern, but Whedon is smart enough to simply trust the material and his charming cast, all of whom he's worked with on any number of past projects. Those familiar with Buffy, Dollhouse, Firefly, and Angel will get the immediate kick of seeing their favorite stars from those shows, in what looks like a weekend party that turned into a Shakespeare reading. But even if you're not a loyal follower of Whedon, the film is a true joy to watch.

The story and Shakespearean verse remain essentially untouched, other than having been moved to sunny and upscale Santa Monica. The story centers mostly on the constant bickering of love-hating former lovers, Benedick (Alexis Denisof) and Beatrice (Amy Acker), who hurl one stinging barb after another while proclaiming their eternal bachelorhood. The arrival of Benedick, along with Don Pedro (Reed Diamond), and Claudio (Fran Kranz) to the home of wealthy Leonato (Agent Coulson...er, Clark Gregg) has the winds of love stirring throughout. Claudio has fallen in love with Leonato's beautiful and saintly daughter Hero (Jillian Morgese), a match which everyone seems all too happy to make happen. Everybody sees themselves as Cupid, and the biggest match of all would be getting the jaded Benedick and Beatrice together once and for all.

It's easy to forget how razor sharp Shakespeare's writing often could be, but the scathing barbs hurled between Benedict and Beatrice serve as a stark reminder. Together, they make for a fascinating on screen pair, who fight and pine for one another secretly and then fight some more. As played by Acker and Denisof they are a comic gem and utterly irresistible. The same goes for everybody else, as well, especially Nathan Fillion as the clownish Dogberry, who bumbles along shocked every time someone calls him out for being an "ass".

Although many of the schemes are light-hearted fun, it's the story's darker elements that continue to be a problem. Sean Maher plays the manipulative Don John, who schemes against Claudio and Hero's love by setting her up as unfaithful. With her innocence besmirched, most of the men would rather see her dead than branded a cheater, a tough position to take and have audiences still root for these guys to find happiness later on. Hero's relative meekness in the face of the charges is thankfully balanced out by the ferocious Beatrice, whose defense of her sister is nothing less than inspiring.  For those who have never seen Acker before, or Denisof for that matter, this should be an eye-opening experience, and hopefully it leads to seeing them more on the big screen rather than small.

As much fun as the film is, there's a limit to how much Shakespeare one can take in a single sitting, and thankfully Whedon doesn't overstay his welcome. He knows when to quit while he's well ahead, leaving us with an unexpectedly fanciful summer treat.