REVIEW: “The Duel” (2024)

As a seasoned cinephile with a penchant for the unconventional and a soft spot for dark comedies, I must say that “The Duel” is a film that left me both intrigued and slightly bewildered. The story of two estranged friends resorting to an old-fashioned duel in modern times is a premise that, while outlandish, is undeniably captivating.

Each year, the Arkansas Cinema Society showcases a variety of local, national, and international films in an event called Filmland, which they carefully select. Over its seven-year existence, this annual gathering has welcomed a stellar lineup of industry professionals such as Richard Linklater, Jessica Chastain, Adam Driver, Michael Shannon, Joel Edgerton, Chloé Zhao, Will Forte, and numerous others. Filmland 2024 is no exception to this trend.

2021’s celebrations commenced with a unique premiere for “The Duel”, the initial work of co-directors Luke Spencer Roberts and Justin Matthews. This slightly unbalanced yet catchy dark comedy features Dylan Sprouse and Callan McAuliffe as erstwhile best friends, who settle their disputes much like many others might – through an old-style duel, complete with antique pistols, the required ten paces, all the trimmings included.

From my perspective as a movie enthusiast, “The Duel” is a fascinating yet uneven blend of concepts, some of which resonate effectively while others fall flat. It’s almost like the director took elements from “The Hangover,” “A Midsummer Night’s Dream,” and Ridley Scott’s “The Duellists,” tossed them into a blender, and hoped for the best. Regrettably, certain elements overpower the others in this mix. In this instance, it’s the film’s attempt to emulate a crude buddy comedy that overshadows the other components. Delve deeper, however, and you might uncover a thematic foundation – but it’s hidden beneath witty banter and antics that appear more focused on securing an R rating than delivering a coherent narrative.

In my opinion, Roberts and Matthews swiftly dive into the narrative without any delay. I found out that Colin (Sprouse) and Woody (McAuliffe) were inseparable back then. However, their friendship was shattered when it was discovered that Colin had been secretly seeing Woody’s girlfriend. To exact his revenge, Woody seized Colin’s treasured surfboard – the only one crafted for him by his deceased father – and set it ablaze. With no prospects of making amends, they decided to settle things in a refined manner – through a duel.

As a film enthusiast, let me clarify that the movie we’re discussing is indeed set in our contemporary world. This setting, surprisingly enough, amplifies the film’s outlandish concept. Yet, this is one of the movie’s strengths; it openly acknowledges its silliness and everyone involved seems to be part of the joke. Now, not all the humor may resonate (I’ll delve deeper into that later), but this self-awareness makes the absurdity more palatable, even enjoyable.

Find themselves in a predicament alongside their former companions-turned-adversaries, Kevin (Hart Denton) and Sam (Denny Love). Despite having chosen opposing sides in the conflict, they share a common concern that Colin and Woody are escalating the situation excessively. They follow suit, acting as loyal supporting characters reminiscent of sidekicks in a movie, as their determinedly angry friends encounter the enigmatic Christof (a captivating Patrick Warburton), who seems to have emerged from a time machine with his unique appearance, speech, and demeanor.

As a follower in this narrative, I am Christoff – an antiquities dealer with a clandestine side hustle as an arranger of private duels. Without much subtlety, I swiftly establish the regulations for these encounters: from the courteous manner of issuing challenges, maintaining a refined demeanor, to selecting the “Field of Honor” – the location where our duel will unfold. In this tale, the decision of the battleground unexpectedly falls upon Kevin and Sam, serving as an engaging task for our characters.

Kevin and Sam unexpectedly run into a high-on-cocaine Joey (Christian McGaffney), who introduces them to Rudolpho (Ronald Guttman), a wealthy drug lord and dualist from Mexico, with a penchant for extravagance. Rudolpho extends an invitation to the unrefined quartet, including Christoff, to utilize his grand estate for their confrontation. They accept, but prior to any gunfire, there is a need for contemplation, a grand feast, and other leisure activities designed to provide characters with chances to resolve issues.

In the heart of the scene, you’ll find Abbie (portrayed by Rachel Matthews). If she had been provided a proper character development, she could have significantly enriched the narrative. However, Abbie makes her first appearance much later on, and her role seems limited to delivering formal speeches to the two men in conflict. Her words, though insightful about their actions, lack impact because we haven’t had the chance to know her or understand her motivations.

In a commendable fashion, “The Duel” concludes with a bold finale, one that was the only feasible option without compromising its integrity. This ending, while not entirely perfect, does manage to resonate with the film’s underlying message more than any other. The acting is generally strong, and there are numerous humorous moments sprinkled throughout. However, some characters seem to exist solely for comedic relief, lacking depth. Additionally, the film’s preoccupation with securing an R rating appears to have diverted focus from areas that could have benefited more attention. “The Duel” is now available on VOD.

2024-08-22 18:56

REVIEW: “The Duel” (2024)

Read More

Minority Mindset