‘The Duel’ Review: A Boring Bromance Ends with a Bang, as Both Dudes Draw Guns at 20 Paces

As a seasoned observer of human nature and a connoisseur of films that delve into the complexities of relationships, I must admit that “The Duel” left me somewhat underwhelmed. Having read several books with similar titles, I expected a more nuanced exploration of this centuries-old practice.

A tale disguised as sophisticated, yet seemingly crafted for men by men, titled “The Duel,” comes at a time when America is deeply divided and there’s considerable debate about firearm usage. This film is set to debut as a one-time screening on Iconic Events on July 31, followed by streaming in August. The production appears sharp, but it feels more like a blunt rapiers with cork handles than a powerful weapon. In the movie, Dylan Sprouse and Callan McAuliffe portray long-standing friends who attempt to resolve their disagreement in an outdated manner – by shooting each other with pistols.

“Initially, ‘The Duel’ seemed like an ingenious concept that left me questioning its originality, until I found myself doubting why the two directors didn’t explore it further. Interestingly, my library houses no less than four books titled ‘The Duel,’ with the shortest one by Joseph Conrad comprising 112 pages. However, even this brief work contains more intricate subplots and engaging elements compared to Roberts and Matthews’ debut feature. Despite having enough material for a mildly entertaining short film, the creative pair behind ‘Upgraded’ (released this year) could have benefited from additional brainstorming on the concept.”

The story, albeit artfully filmed, lacks depth in its script, and revolves around two characters who decide to engage in a duel, an action that turns out to be more complex than one might expect given the passage of time since Aaron Burr shot Alexander Hamilton. According to narrator Patrick Warburton, whose witty voice resembles a gentle Optimus Prime, the conflict began when Colin (Sprouse) took away the woman whom Woody (McAuliffe) had planned to marry someday. In response, Woody retaliated by stealing Colin’s cherished item – a surfboard crafted by his deceased father – and destroying it.

As a passionate cinema enthusiast, I’d rephrase it like this: Instead of confronting his old pal directly, Woody embarks on a quest to find an underworld community that can provide him with vintage weaponry and a suitable battleground. His ultimate goal is to eliminate his adversary and clear his own name. If things had gone differently, Woody would have stood at the altar with Abbie (Rachel Matthews, rather forgettable), making Colin his best man. With their friendship in tatters, they now rely on Kevin (Hart Denton, somewhat dim-witted) and Sam (Denny Love, overly enthusiastic) as their backup, ready to stand by their side in this formal dispute.

Four young men, reminiscent of characters from a later “American Pie” film, unexpectedly engage in a fight outside what initially seems like a speakeasy from the Prohibition era. However, this seemingly ordinary establishment turns out to be a complex dueling emporium filled with various tools for settling scores. The proprietor, Christof (Warburton), disapproving of their boisterous behavior, emerges from the shop dressed in a tweed vest, bowtie, and vintage flat cap.

Rather than backing out due to his preference for a more sophisticated crowd, Christof almost cancelled the confrontation. That would have made for quite an abbreviated film. Instead, he outlined the formal guidelines for such a contest, from the symbolic slap (with an empty glove) to choosing a suitable location for their face-off. While many Americans resolve conflicts with firearms, “The Duel” – or dueling in general – offers a more civilized choice over drive-bys and the senseless violence that often makes headlines. A thoughtful touch in the film’s introduction is the depiction of streets named after individuals who lived or perished by gunfire.

The underlying message of the movie is that many sorrows could be avoided if these two men would simply sit down and discuss their issues. Instead, they decide to follow Christof’s wealthy client, Rudolpho (Ronald Guttman), who invites them to perform on his estate. He also provides them with vintage costumes and additional time to calm down. As Colin and Woody stroll and converse, they gradually resolve their differences, thanks in part to the presence of a stunningly attractive woman named Aphrodite (María Gabriela de Faría).

In essence, “The Duel” lacks the expected dramatic intensity because neither Colin nor Woody are developed as fully rounded characters. While directors Luke & Justin aim to convey a message, their attempts often come across as forced attempts to imitate Quentin Tarantino or Martin McDonagh’s styles instead of showcasing unique talents. The motivations for their duel fail to engage us emotionally, so the climactic ending feels underwhelming and devoid of any real tragedy. It becomes problematic when the loss of a life seems more wasteful than the expenditure of a bullet.

2024-07-31 23:16

‘The Duel’ Review: A Boring Bromance Ends with a Bang, as Both Dudes Draw Guns at 20 Paces

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