“The Last Duel” is a visceral historical drama with dynamic performances and bravura direction by Ridley Scott.

Look for a number of Oscar nominations for the film, which is based on a true story that happened in 1386 in medieval France.

Even though the movie is set more than 500 years ago, it resonates with contemporary topics. “The Last Duel” is a post-#MeToo movement narrative fiction costume-drama movie reckoning.

The film is based on the nonfiction book, “The Last Duel: A True Story of Trial by Combat in Medieval France” (2004), by Eric Jager.

The last legally-sanctioned duel in France, which is depicted in the movie in one of the most astounding physical combat scenes ever committed to film, took place Dec. 29, 1386.

A knight, Jean de Carrouges (Matt Damon), jousting on horseback, dueled a squire, Jacques Le Gris (Adam Driver). Carrouges accused Le Gris of raping his wife, Marguerite de Carrouges (Jodie Comer). For Marguerite, the stakes are even higher.

Looking on with bemused cynicism is Count Pierre d’Alençon (Ben Affleck).

The film is told in the style of the Japanese film, “Rashomon” (1950), directed by Akira Kurosawa, whereby the same story is repeated from different perspectives.

In “The Last Duel,” we see events unfold from three viewpoints, that of Jean de Carrouges, Jacques Le Gris and Marguerite de Carrouges. The three “chapters” are segmented with on-screen titles.

The climatic duel, which takes place in an arena, is seen from the audience’s perspective. It’s no day at the Renaissance Faire.

The jousting is brutal. The fighting ends up as hand-to-hand combat. No spoilers here as to who wins. The action has a nail-biting, theater seat arm-gripping, eye-popping intensity.

“The Last Duel” returns Matt Damon and Ben Affleck to the screen not only as actors but as screenwriters. It’s their first writing collaboration since “Good Will Hunting” (1997), for which the longtime friends received an Oscar, best original screenplay.

Damon and Affleck wrote the screenplay for “The Last Duel” with Nicole Holofcener (Oscar nomination, adapted screenplay, “Can You Ever Forgive Me,” 2018); screenwriter-director, “Walking And Talking,” 1996; “Lovely And Amazing,” 2001; “Friends With Money,” 2006; “Please Give,” 2010; “Enough Said,” 2013).

Holofcener’s contribution is crucial. She wrote the film’s third chapter, apparently at the behest of Damon and Affleck. The third chapter tells story from the female standpoint of Marguerite de Carrouges.

The film deftly balances the three perspectives, with subtle differences in the storyline in the first two chapters and more emphatic differences in the third chapter.

Up until the third chapter, scenes, dialogue and story are a bit of a slog for the movie-goer. The payoff in the third chapter works intensely. The rape scenes are more difficult to view with each chapter’s retelling.

The duel scene, powerful beyond belief, is a textbook study in expert cinematography (Dariusz Wolski, Oscar nomination, cinematography, “News Of The World,” 2020) and editing (Claire Simpson, Oscar recipient, “Platoon,” 1985).

Production values are excellent: production design (Arthur Max, Oscar nominations, production design, “The Martian,” 2015; “American Gangster,” 2007, “Gladiator,” 2000); costume design (Janty Yates, Oscar, costume design, “Gladiator”), and music (Harry Gregson-Williams, “The Chronicles Of Narnia,” 2005; “The Martian”).

“The Last Duel” unfolds in hues of blues and grays, brightening a bit in the third chapter, and glowing in the denouement scene.

“The Last Duel” is a triumph of film-making for Ridley Scott (Oscar nomination, picture, “The Martian,” Oscar nomination, director, “Black Hawk Down,” 2001, and “Gladiator,” and also director of “Thelma & Louise,” 1992; “Blade Runner,” 1983, and “Alien,” 1979), who will be 85 on Nov. 30). Scott is at his innovative-best, providing a visual, intellectual and emotional window to a way of life long gone and yet so immediate.

Adam Driver (Ben Solo-Kylo Ren, “Star Wars,” 2019, 2017, 2015; Oscar nominee, actor, “Marriage Story,” 2019; supporting actor, “Black KKKlansman,” 2018) is again an astounding screen presence. Driver anchors the film with a portrayal of Jacques Le Gris that is menacing.

Jodie Comer (“Free Guy,” 2021; Prime Time Emmy, “Killing Eve,” 2019) is a revelation as Marguerite de Carrouges in a challenging role that runs the gamut of emotions.

Matt Damon (Oscar nominee, actor, “The Martian;” “Good Will Hunting,” supporting actor, “Invictus,” 2009; picture, “Manchester By The Sea,” 2016) is particularly good as Jean de Carrouges with a stolidity that only stirs in gruff defense of his honor. Affleck (Oscar, picture, “Argo,” 2012) is a hoot and almost unrecognizable as Count Pierre d’Alençon.

Look for an Oscar nomination, director, for Scott; Oscar nomination, screenplay, for Damon, Affleck and Holofcener, and Oscar nomination, actor, for Driver, and actress, for Comer.

“The Last Duel” is recommended for fans of Ridley Scott, Matt Damon, Ben Affleck, Adam Driver, Jodie Comer and fact-based historical dramas.

“The Last Duel,”

MPAA Rated R (Restricted. Under 17 requires accompanying parent or adult guardian.) for strong violence including sexual assault, sexual content, some graphic nudity, and language); Genre: History, Drama, Action; Run time: 2 hr., 32 min. Distributed by Walt Disney Studios Motion Pictures.

Credit Readers Anonymous:

“The Last Duel” was filmed in France,

in the medieval castle of Berzé-le-Châtel, Burgundy, and Ireland, at Bective Abbey, County Meath; Cahir Castle, County Tipperary, and Dublin and County Wicklow, from February - October 2020. There was a filming hiatus of several months because of the coronavirus (COVID-19) pandemic shutdown.

At The Movies:

“The Last Duel” was seen in the standard format at AMC Center Valley 16, Promenade Shops at Saucon Valley, Upper Saucon Township.

Theatrical Movie Box Office,

Oct. 22-24: “Dune” burrowed to No. 1 opening with $40.1 million, in 4,125 screens, one week, ending “Halloween Kills” one-week stay at No. 1, dropping one place to No. 2, with $14.5 million, 3,727 theaters, $73.1 million, two weeks.

3. “No Time To Die” dropped one place, $11.8 million, 3,807 theaters, $120 million, three weeks. 4. “Venom: Let There Be Carnage” dropped one place, $9.1 million, 3,513 theaters, $181.8 million, four weeks. 5. “Ron’s Gone Wrong, $7.3 million, 3,560 theaters, opening. 6. “The Addams Family 2” dropped two places, $4.3 million, 2,907 theaters, $48.3 million, four weeks. 7. ”The Last Duel” dropped two places, $2.1 million, 3,065 theaters, $8.5 million, two weeks. 8. “Shang-Chi and the Legend of the Ten Rings,” $2 million, 1,600 theaters, $221 million, eight weeks. 9. “The French Dispatch.” $1.3 million, 52 theaters, opening, with a screen average of $25,000, biggest of any film in 2021. 10. “Honsla Rakh” dropped two places, $490,000, 75 theaters, $1.8 million, two weeks.

Box office information from Box Office Mojo as of Oct. 24 is subject to change

Unreel,

Oct. 29:

“A Mouthful of Air,”

R: Amy Koppelman directs Allentown native Amanda Seyfried, and also Britt Robertson, Jennifer Carpenter and Finn Wittrock in the Drama. An author of best-selling children’s books faces trauma after her daughter is born.

“Last Night in Soho,”

R: Edgar Wright directs Anya Taylor-Joy, Diana Rigg, Thomasin McKenzie and Amy Andrea Horror Thriller. An aspiring fashion designer time travels back to the 1960s where she meets an aspiring singer.

Movie opening date information from Internet Movie Database as of Oct. 24 is subject to change.

Four Popcorn Boxes out of Five Popcorn Boxes