As a long-time fan of Neil Marshall’s horror masterpieces like “Dog Soldiers” and “The Descent,” I was excited to see him take on a new genre with “Duchess.” However, this film feels more like a missed opportunity than a fresh start.
In his newest film, titled “Duchess“, director Neil Marshall trades the realm of horror for that of crime thrillers. However, he finds it challenging to create a truly memorable and distinctive piece within this genre.
In his latest film series featuring actress-cum-writer Charlotte Kirk, Neil Marshall, known for hits like “Dog Soldiers” and “The Descent,” seems to be experiencing something less than stellar successes. A shift in genre might provide a breath of fresh air and help both parties find a rhythm that truly resonates with audiences.
If you’re looking for something engaging as a fan, I’d advise steering clear of British gangster crime thrillers if “Duchess” is any indicator. This new movie seems to be a jumbled mix of tones that borders on the absurd, reminiscent of cheap, tacky cockney gangster films. Regrettably, “Duchess” takes itself quite seriously, which makes its inconsistencies all the more disappointing.
The working-class woman, Scarlett (Charlotte Kirk), lives an ordinary life with a history of conflicts with men. Her petty crimes escalate when she encounters Robert (Philip Winchester), a diamond smuggler who finds her appealing. As their relationship deepens, Scarlett becomes increasingly entangled in the world that Robert calls home.
In a heart-wrenching turn of events that leads to heartbreak and deceit, I find myself in a perilous state, seemingly abandoned and left for dead. Yet, I draw strength from the unwavering support of Robert’s lifelong allies, Billy Baraka (Hoji Fortuna) and Danny Oswald (Sean Pertwee). With their help, I resolve to retaliate against those who orchestrated this treacherous act, seeking justice for myself and my honor.
Since the very beginning, Duchess exhibits a blend reminiscent of British gangster films by directors such as Guy Ritchie, Nick Love, and Craig Fairbrass’s Rise of the Footsoldier series. Immediately, one thinks of Ritchie’s Lock, Stock, and Two Smoking Barrels or Snatch. These are lively, profanity-laced, and brutally violent crime tales starring well-known British actors who use extreme profanity alongside typical gangster warnings.
The Duchess employs Kirk’s Scarlett to tell the story, often providing excessive detail that may be unnecessary unless one has a very short attention span, such as a battered sausage. Furthermore, she introduces each character with brief summaries of their personas, which in some instances appears to replace the development of actual personalities for these characters.
In this dialogue, most of it resembles common phrases found in typical British gangster films, but there are a few lines that are genuinely funny. However, many of the supposedly “new” lines are painfully awkward and feel heavy-handed.
Initially, the film’s first act attempts to present a light-hearted, energetic crime story, with Kirk adopting a thick East End accent. This is arguably Kirk’s finest performance under Marshall’s guidance, but considering the subpar performances from The Reckoning, this isn’t saying much. It’s not a strong acting display in its own right, but it veers so far into unintentional comedy that it becomes amusing at times.
Initially, the movie abruptly changes its mood in the middle. Switching from a light-hearted, action-packed, profanity-filled heist to a grisly revenge drama could indeed be intriguing. However, such a shift requires finesse, and the abrupt transition between tones is jarring and disconcerting. Unfortunately, the movie frequently fails to maintain a clear, consistent vision throughout its narrative.
In a nutshell, the action sequences struggle with consistency. Apart from the entertaining, chaotic fight scenes, the stage designs seem awkwardly constructed and the flow is slow and laborious. There are occasional flashes of Marshall’s talent in some gruesome moments, but these bright spots are brief and often followed by disappointing sequences.
In Duchess, the selection of music and visuals appears to mimic Ritchie’s early gangster film soundtracks, but instead of enhancing its appeal, it seems more like an odd promotional link for some questionable foreign gambling enterprise. The musical elements and visual embellishments contribute significantly to the tone problems, just as much as the dialogue and acting do.
The film, titled Duchess, isn’t terrible per se, but it seems quite different from the director’s proven abilities, which makes its shortcomings more frustrating. It struggles to move beyond just being tolerable and its nearly two-hour length doesn’t help matters. In a crowded subgenre of British gangster movies, Duchess regrettably offers little that sets it apart.
SCORE: 3/10
According to the review guidelines on ComingSoon, a rating of 3 means “Bad.” This media is so problematic that it feels more like a burden rather than an enjoyable experience.
Duchess is in theaters and on digital now.
Duchess screener provided for review.
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2024-08-09 17:11