Apparently if you’ve ever been in a Joss Whedon movie or series, you’re set for roles forever. Whedon likes his returns. I don’t know if it’s loyalty or he actually thinks they’re good actors, either way, it’s usually a good thing for audiences.
Much Ado About Nothing isn’t my favourite Shakespeare play, it gets draggy and basically the entire plot depends on whether or not Hero is pure. It does have some interesting nuances about why we love, how we love, and the lies, machinations, and misunderstandings that confuse the course of love. This is a smart, savvy, and seductive retelling.
Whedon likes to put his personal stamp on things. Adapted, directed, produced, composed the score, filmed at his house. It’s purely his.
For me, Clark Gregg was the best part of this film. He was playful, passionate, and pious – a perfect Leonato.
Although Nathan Fillion as the bumblingly brilliant Dogberry was delightful. And his scenes with Tom Lenk were hilarious.
This is well-adapted, the changes seem to add rather than detract from Shakespeare’s original.
Whedon went with the now, but kept the then.