• Almost nothing works in Joss Whedon's "Much Ado About Nothing." It's hard to imagine how such an intriguing idea turned into such a lackluster film. Whedon's concept to set the story in modern day just doesn't work. Everyone is dressed similarly so its nearly impossible to tell the characters apart by their station - an important factor in the Shakespeare script. The use of black and white does nothing and actually robs the smart-looking production elements of any visual interest. Even when the characters venture into the back yard the film feels claustrophobic - like rainy day play-acting by a talented group of friends. Most of all, the 1600 story just doesn't ring true in the modern age. A previously rational father cries out that her daughter should die when she is accused of infidelity to her fiancé? In 2013? Whedon's attempt at physical comedy falls flat (pardon the pun). The parallel scenes of the men convincing Benedict that Beatrice loves him - and the ladies doing the same to Beatrice is clumsy and feels forced. After the first hour you start to realize Joss Whedon and his regulars are just amusing themselves - forgetting this is more than just a Whedon home movie. The only real reason to see this film is Amy Acker, who miraculously manages to find something in Beatrice that bridges the gap between the old Globe and Hollywood.