Directed by Joss Whedon. Starring Amy Acker, Alexis Denisof, Clark Gregg, Nathan Fillion, Franz Kranz. 107 mins

It takes some man to go from superheroes to Shakespeare. The kind of man who can go from a feminist vampire show to an anti-totalitarian space western and on to a meta-horror film. In truth, adapting Shakespeare presents a unique challenge for Joss Whedon, whose strengths lie in dialogue-driven plot and the slow, series-long development of characters. Surrendering control to the Bard’s text forces Whedon to prove his chops as a director, rather than screenwriter-slash-director. That the film was shot on a non-existent budget over twelve days in Whedon’s Italian villa further requires him to reveal his gut-instinct, split-decision directing choices.
Luckily, Whedon’s skill with actors transcends the limits of iambic pentameter – well, mostly. In a generally light play, centred on sparring would-be lovers Beatrice (Amy Acker) and Benedick (Alexis Denisof), Whedon’s black and white cinematography adds a self-aware artiness to what is a semi-screwball, modern-day adaptation. The bourgeois California setting allows for stylised party scenes and a gorgeous jazzy soundtrack that features Shakespeare’s words as lyrics. Meanwhile, Nathan Fillion adds a Horatio Caine parody to his scene-stealing turn as the malapropism-laden constable Dogberry.
The cast – all Whedon friends and collaborators – tackle the language admirably, though villain Sean Maher remains underdeveloped, with cartoonishly ominous music following his every move.
Whedon’s sexual politics are notably inconsistent, with casual liaisons and public gropings jarring with the unaltered central plot-point that condemns pre-marital sex. It’s these flaws that betray his desire to present a frothy, flirty adaptation. But when the cast are obviously having this much fun, you can forgive that. Very watchable...