"Whedon has modernised the screenplay expertly, managing to implement his own sardonic wit into the famous Shakespearian text..."

Having triumphed with Avengers Assemble last summer, director Joss Whedon was commended for his ability to enter into such a precious franchise, and remain faithful to the brand while implementing his own effervescent style of filmmaking. Well he's now entered into even more treasured territory, tackling the one and only William Shakespeare, with his adaptation of Much Ado About Nothing. Once again, it has proved to be a worthy attempt.

Shot in the director's very own home, and in just 12 days, this intimate production is a collaboration of Whedon's most common of alumni, in what seems to be the perfect antidote to the multi-million dollar blockbuster expedition that preceded it. We delve into the two contrasting romantic affairs between Beatrice (Amy Acker) and Benedick (Alexis Denisof), and young lovers Claudio (Fran Kranz) and Hero (Jillian Morgese). While the latter couple are engaged and hopelessly in love with one another, the same can't be said of the former, who provoke and tantalise the other, as close friends aspire to bring the pair together, as we build towards the climatic finale of Claudio and Hero's wedding, where crossed words and false accusations cause uproar on what should be the most beautiful of days.

What you certainly can't fault in this modern retelling, is the story of which we are following, and it's the construction of it and how it has been told through somebody else's vision which is under scrutiny; yet it's a job well done. The Bard's much celebrated comedy survives off its simplicity, and Whedon thrives in such a capacity. At the heart of this story is a conventional love story of two lovers who appear to be destined to never be with one another, despite evidently sharing romantic feelings. It's an age old archetype of the genre and so many films have been structured around this very concept. Fortunately Whedon stays within his means and plays up to such an unequivocal narrative succinctly and straightforwardly.

He has modernised the screenplay expertly, managing to implement his own sardonic wit into the famous Shakesperian text. He brings the story to life majestically also, implementing a black and white aesthetic to perfection, while the costumes and overall mise-en-scene appears to be a nod in the direction of the silent cinema age. By taking such an approach, Whedon is enhancing the fact that this story is completely timeless and can be relevant in any era - a sentiment proved by the fact that this was written centuries ago. A classic love story can remain forever pertinent and Whedon captures that notion.

The cast must too be commended, particularly Acker who shines as Beatrice. She just seems so at ease with Shakespeare, and above all, so comfortable working under alongside Whedon, a sentiment shared across the cast. There appears to just be this mutual appreciation amongst the filmmaker and his performers whereby they all just understand one another, and such an amiability between them all and camaraderie shines through in the finished product. However Denisof isn't quite as enchanting as his counterpart, with his Shakespearian tongue feeling somewhat contrived and unnatural at times.

The character Benedick is also left with the majority of the more humorous moments within this picture, and sadly the comedy (or lack of), proves to be a downfall. It just feels too forcefully quirky when humour is strived for, and though the play excels in such a capacity, perhaps this particular adaptation would work better in capturing the more dramatic aspects to this allegory. This reworking does also get tedious in places, and while this story remains intimate, unlike in a stage production, sometimes we require a more grandiose and elaborate depiction on the big screen, and sadly this doesn't deliver in such a respect.

That said, the final act makes for gripping cinema, coming into its element as the story is blown wide open. However no matter how good a job Whedon has done with this story, you do just spend the vast majority of the time thinking about how inspiring Shakespeare's words remain, marvelling at how relevant themes expressed in the 16th century are today. Whedon and his merry band of actors and collaborators have left this project with dignity and their heads held high, and that is more that can be said of many cinematic adaptations of the Bard's work. It looks good on the CV, too.