With big names like Nathan Fillion (Malcolm Reynolds from Firefly) and Clark Gregg (Agent Phil Coulson from The Agents of Shield), you would think it would be brimming with action-packed goodness!

As a fan of Shakespearean literature, I scrolled through Netflix and was delighted to see the film Much Ado About Nothing. Curious black and white images in a modern world with cheerful background music… what is this? They are speaking actual Shakespearean dialogue, though. Joss Whedon’s home-made adaptation is on the formal side for a movie he created with his friends.

In Whedon’s Much Ado About Nothing, the characters discuss topics unrelated to the setting. They are talking in a modern American kitchen about how they are all living in Sicily at the moment. It relinquishes any belief you could have in the characters. Takes the viewer out of the movie. I watched up to a scene where two guys are discussing the attractiveness of the women while they are in a guest room filled with an unusual amount of stuffed animals. I see where the comedy is supposed to be. When they start wrestling on the twin beds, I wonder where the movie is going… people seem to have given it good reviews. It just seemed forced. Maybe I’m missing something. The beauty about Netflix is that you can turn a movie off if you are disinterested. You have that option. I turned it off after about 30 minutes in since I was bored with the lack of colour and energy… just found out my brother couldn’t sit through it either.

This is an unusual review for a movie; however, feel free to watch the rest of the movie if you want or are curious as to why I disliked it enough to stop watching. I do like Joss Whedon’s imagination as much as the next Firefly fan, nevertheless, because a director can shoot a movie in his home with his friends doesn’t mean it is going to be amazing for everyone.



First few scenes start with two women in black mourning dresses beside a country landscape. There is talk of the area being “no place for a lady.” Foreshadowing much?

Mike Wallis has an outlandish appeal with his direction in this movie. When a sun-kissed outlaw opens fire in a bar then sweeps up his claimed prize, the movie takes a turn. Our outlaw whisks this upper class British woman to a random tree and rips her clothes from her until he notices something unusual. She has tentacles! Just kidding. That would be something, right? Tentacles.

He leaves her only to tell the nearby town’s doc that he was with a woman and his dick was “broke.” This is different… Poor woman gets accosted and she is so sweet, too. Then, there is a comical gunfight where they keep missing their targets. There is definitely more action with a little less conversation in this movie.

With limited words, you can just feel the sexual energy of the two main characters. He is bathing fully naked with a gun strapped on and she does that shy eye-cover hand gesture that we all know means she wants to see what there is over yonder.

Spoiler alert: she’s brutally rapped by some other guy while music plays to silence her screams. Well, it just got darker. Maybe this movie got lower reviews because of this scene. I was rooting for the outlaw to come save her and he took too disappointingly long.


Notes: While one movie was heavy in dialogue and set in more modern times, the other was light in dialogue and set in the old west. The titles of the movie should have been switched because the main feisty female in Much Ado About Nothing thought her love interest was good for nothing; on the other hand, the two characters from Good for Nothing had much to do for two people who had nothing close to a stable relationship. My recommendations would include: watch another more exciting version of Much Ado About Nothing or sit through this one, and skip the last 15 minutes of Good for Nothing since the rape scene distracts from the redeeming qualities of the movie.