The Reckoning

Nikolas (Paul Bettany) is a 14th (or so) century priest with a guilty conscience. Guilty of adultery, he exiles himself to the countryside and casts his lot with a group of itinerant theatrical players lead by Martin (DaFoe). Though Nikolas has no discernible acting talent, the troupe begins to grow attached to him, especially as he develops an interest in the mystery of the disappearance and death of several young boys in a small town the players have come to visit. Nikolas exhumes the corpse, attracting the attention and ire of the local magistrate, and discovers a cover-up and conspiracy which his conscience can not allow to go unexposed. Since the courts, the local law enforcement, the church and the local nobility will not listen, Nikolas must plead his case to the citizenry. The troupe takes up the task using their well honed talents.

This is a very clever, well written, very well filmed, carefully planned piece of historical fiction. The medieval period is portrayed with far greater accuracy and sensitivity than the usual contemporary film affords, though its cleanliness is a bit absurd, the set is magnificent and reminiscent of Herzog's talents in creating a historic context. The language of the film is also as authentic as it could be without resorting to archaic tongues few would understand. The acting is exceptional, though a couple of Bettany's soliloquies were a little predictably presented (he seems to do a lot of this sort of thing) with DaFoe and Gina McKee providing especially touching and intense performances.

The acting and strong script combine to make The Reckoning as good as a character study as it is as a dramatic mystery. It is not, however, a fast paced thriller and will undoubtedly disappoint those used to the style of mystery currently in vogue - that is guns-a-blazin' sex and violence-decorated kill-fests. If you're not in the mood for a slow-moving but intense film experience, avoid The Reckoning. If you want to be immersed in a different, but very real, world, and experience a contemporary issue through the eyes of those who live in that world, see it.

This film was a total surprise for me. I went to see it without any pre conceived ideas; I had no clue what to expect. I based my decision on the the strength of the cast here assembled. It proved me right, as this is a movie that is very satisfying without being pretentious, or preachy.

It is, without a doubt, a major achievement for its director, Paul McGuigan. It probably would be intimidating to undertake a project of this magnitude and still bring together all the right elements to make this film enjoyable. The only sad part is that it seems this film is not getting its fair share the way it's being marketed, at least in this country.

Paul Bettany is amazing as the young priest who commits a terrible sin and has to leave the security of his church. He is fortunate to meet with the kind hearted Martin, and his troupe of players. William Dafoe is very good as the principal actor in this group. Brian Cox's role is brief, but he is very effective. Elvira Minguez has no dialogue at all, but her presence is crucial to the story and her Martha adds another layer to the story.

Despite the different acting styles and accents, the story keeps the viewer engrossed in the story. I do hope it will get the audience it sadly needs, for this is a much better film than the silly stuff being offered these days.

I've watched this movie 4 times in the last three days, and I'm still not sure I've grokked all of its subtleties yet. Beautiful, yes -- the village set is a series of enclosures, mazes within mazes, that contribute to the entrapped mood surrounding the characters. Even in the scenes outside the village, the woods and hills close in around the actors, like the enfolding wings and backdrops of a stage. The closeups are unsettlingly revealing - filthy fingers with smooth nails using a sharp, rough flint to cut hair down to the scalp....dark eyes revealing everything and nothing....a hand laid caressingly near the jugular....strong fingers....and Paul Bettany's disturbing blue eyes. I can't say enough about Bettany's take on the outcast priest -- he manages moral outrage and submissive pathos with equal ease, and his smiles always have a hint of tears behind them. A haunting performance -- I would go across the world to see Bettany play Hamlet or Macbeth.

Director Paul McGuigan gathers a team of excellent actors in this medieval mystery drama. This is not an easy genre, although there are excellent books to start from and at least one film to remember, 'The Name of the Rose' that was a great success a couple of decades ago. In 'Reckoning' the staging of the action is very good, the characters are strong and credible, and the atmosphere of the time - 14th century England - makes it to the screen. The story of an ex-priest joining a group of actors who get involved in a crime and wrong justice story in a village they perform is quite interesting, at least at the beginning. Paul Bettamy and William Defoe give good performances, and the rest of the team is not far behind. The problem is with the story - it starts well leading to a theater in movie scene which is the key of the whole movie. The mistake in the script is that this scene comes too early, and the rest of the story is too easy to predict and not interesting enough. I lost interest in the second half, and it looked like the director also ran out of ideas, most of the best visuals are in the first half, the second just repeats what we saw in the first and in many other films. Overall a movie above average, 7 out of 10 on my personal scale.

Everything in the setting and art direction of this nicely done dramatic mystery is of Academy Award caliber, so why was it not nominated? It should have been.

The plot is simple but handled in a most perceptive and well-conceived manner, and makes for a riveting tale, with superb performances by nearly everyone involved. A murder mystery set in the 13th century in England, of course with the dangerous politics of aristocracy as fodder.

The fault of this film is in the portrayal of the villain, who is lacking in development and nothing more than a one-dimensional Simon Legree. One fully expects him to pull his mustache and cackle. His eventual downfall is welcome, but handled in way that just seems unrealistic for the times.

Here is a fellow who is suspected of planning a revolt against the King of England, yet he only has about 6 knights in his stable when push comes to shove? What? Then the angry villagers burn down the gigantic castle, which was the size of about the rest of the town. Right, they'd prefer to just burn it down rather than use it.

Other than that, a great film.