Duchess

Neil Marshall's Duchess is a disheartening example of a director's gradual decline, a film that attempts to capture the essence of British gangster cinema, but ultimately fails on almost every level. The film, co-written by Neil Marshall and his partner Charlotte Kirk, who also plays the lead role, is a confused and uninspired effort that shows just how far Neil Marshall has strayed from the promise of his early work.

Neil Marshall made his name in the early 2000s with films such as Dog Soldiers (2002) and The Descent (2005), both hailed for their tight direction, effective suspense and innovative approach to genre cinema. Dog Soldiers was a clever blend of horror and black comedy, while The Descent was a taut, claustrophobic exploration of primal fear that cemented Marshall's reputation as a director to watch. In recent years, however, his career has taken a turn for the worse. Films like Centurion (2010) and Doomsday (2008) hinted at a director struggling to recapture the success of his early work, but it was with The Reckoning (2020) and The Lair (2022) that the extent of his creative decline became painfully obvious. These films were marked by mediocre storytelling, lackluster performances and a general sense of aimlessness, and Duchess sadly continues this trend.

In Duchess, Charlotte Kirk stars as Scarlett Monaghan, a petty criminal who becomes embroiled in the dangerous world of diamond smuggling after crossing paths with Robert McNaughton, played by Philip Winchester. The film sets up what should be a thrilling tale of revenge and redemption, as Scarlett, left for dead after a double-cross, seeks revenge on those who wronged her. However, the execution of this premise is deeply flawed. The screenplay, written by Neil Marshall and Charlotte Kirk, is riddled with clichés and uninspired dialogue, failing to bring to life the conventions of the genre it so desperately tries to emulate.

One of the most glaring problems with Duchess is its total lack of originality. The film borrows heavily from the style of Guy Ritchie's early work, attempting to replicate the fast pace, slick editing and snappy dialogue that made films like Lock, Stock and Two Smoking Barrels (1998) and Snatch (2000) so iconic. However, whereas Ritchie's films were imbued with wit, charm and a distinctive visual flair, Duchess looks like a pale imitation. Freeze-frame character introductions, voice-over narration and convoluted plots come across as forced and derivative rather than fresh and engaging.

Charlotte Kirk's portrayal of Scarlett Monaghan is another of the film's weak points. Despite being the central character, Scarlett is rendered one-dimensional by the script, and Charlotte Kirk's performance adds little depth or nuance. Scarlett's transformation from low-life thief to vengeful anti-heroine is unconvincing, largely because the film doesn't sufficiently show her evolution or provide a compelling arc. Instead, the character's journey is overshadowed by scenes that seem more concerned with showcasing Kirk's physical appearance than developing her as a complex, powerful character. This over-sexualization, coupled with the superficiality of the film's characters, undermines any potential Duchess might have had as a feminist reimagining of the gangster genre.

The secondary cast, which includes seasoned actors such as Colm Meaney, Sean Pertwee and Stephanie Beacham, is also underutilized. These actors, who have delivered solid performances in other projects, have little to do here. Their characters are underdeveloped and their roles in the plot are often reduced to mere caricatures. The character of Robert McNaughton, played by Philip Winchester, who is supposed to be the charismatic diamond smuggler who seduces Scarlett, has neither the charm nor the presence to make his relationship with Scarlett believable or engaging. As a result, the film's central emotional arc feels hollow and unearned.

Visually, Duchess is a disappointment. The images, directed by Simon Rowling, are dark and often poorly lit, which not only detracts from the film's visual appeal, but also makes it difficult to follow the action. The editing, entrusted to Neil Marshall and Adam Trotman, fails to create a coherent or engaging narrative flow, with many scenes seeming disjointed or irrelevant. The action sequences, which should be the highlight of a film of this genre, are poorly choreographed and lack the intensity or excitement needed to maintain audience interest. Even the film's attempts at realism are undermined by unconvincing CGI effects and a general lack of polish.

The music, composed by Paul Lawler, attempts to evoke the jazzy, energetic soundtracks typical of the genre, but ultimately seems out of step with the film's tone. Instead of enhancing the action or adding to the atmosphere, the music often feels like an afterthought, failing to heighten the material or create the necessary tension.

Perhaps the most disappointing thing about Duchess is that it illustrates Neil Marshall's continuing decline as a filmmaker. From the innovative, tightly controlled horror of The Descent to the derivative, uninspired mess of Duchess, it's clear that Neil Marshall has lost much of the creative spark that made him a director to watch. The film's failure is compounded by the fact that it doesn't even manage to be a simple, entertaining action film. Lack of originality, mediocre performances and poor execution all contribute to a final product that is not only unsatisfying but also frustrating and boring.

Duchess is a film that struggles under the weight of its own ambitions and the expectations set by its director's past successes. What could have been an elegant, action-packed revenge thriller is instead a disjointed, uninspired effort that fails to capture the energy or excitement of the films it desperately tries to emulate. For fans of Neil Marshall's early work, Duchess is another disappointing chapter in what has become a troubling pattern of decline in his film career.

Duchess
Directed by Neil Marshall
Produced by Emily Corcoran, Kristyna Sellnerova
Written by Neil Marshall, Charlotte Kirk
Starring Charlotte Kirk, Philip Winchester, Colm Meaney, Stephanie Beacham, Sean Pertwee
Music : Paul Lawler
Cinematography: Simon Rowling
Edited by Neil Marshall, Adam Trotman
Production Companies: Palisades Park Pictures
Distributed by: Saban Films (USA), Vertigo Releasing (UK)
Release Date: August 9, 2024 (USA), August 12, 2024 (UK)
Running Time : 114 minutes

Viewed July 20, 2024 (screener press)

Mulder's Mark: