The Last Duel

There’s a lengthy buildup prior to the titular confrontation in The Last Duel, although fortunately in this lavish medieval epic, the verbal sparring during the undercard is just as compelling as the climactic horsemanship and swordplay.

Boasting all the visual hallmarks of an old-fashioned big-budget adventure, this stylish if uneven saga from esteemed director Ridley Scott is actually more of an empowering feminist melodrama with an intimate Rashomon-style narrative structure.

Indeed, the true-life legend behind this 14th century French tale of deception, oppression, and revenge seems tailor made for 21st century Hollywood.

Jean de Carrouges (Matt Damon) is a knight sworn to defend his kingdom as a liege of Count Pierre d’Alencon (Ben Affleck). His victories on the battlefield conceal a turbulent personal life, as his wife, Marguerite (Jodie Comer), feels isolated and repressed at home.

Jean feels betrayed after hearing rumors that his squire, Jacques Le Gris (Adam Driver), raped Marguerite while Jean was away. Jacques denies the accusations, prompting a public legal battle during which the womanizing Pierre sides with Jacques.

As the incident is recollected differently on all sides, and political and spiritual corruption runs rampant, Jean suggests to the youthful King Charles VI (Alex Lawther) that the verdict be decided by a joust to the death. “One of us has lied. Let us let God decide,” he posits.

Damon sports an unkempt beard, period-appropriate mullet, facial scar, and a curious accent, although he and Driver makes fascinating adversaries. Bleach-blond Affleck is too cartoonish with his wisecracking comic relief.

The Last Duel is unsettling with its brutally violent battle sequences and depictions of sexual assault. Given the subject matter, the relentlessly gloomy and downbeat screenplay by Damon and Affleck, along with Nicole Holofcener (Every Secret Thing) struggles to find a consistent tone.

Abundant anachronisms and historical embellishments suggest a broader attempt to update the story that never really materializes. However, after an overwrought beginning, the three-chapter conceit smartly avoids repetition and never feels gimmicky.

Instead, the film ratchets up the suspense in the manner of a legal thriller, building a sense of intrigue that might cause moviegoers to question their loyalties and challenge their preconceived notions.

This examination of 600-year-old gender politics and toxic masculinity funnels toward a gut-wrenching finale that exerts a harrowing layer of contemporary relevance. Except this time, the woman gets the final say.

Rated R, 152 minutes.