The directorial debut of Justin Matthews and Luke Spencer Roberts (writers of Prime Video’s recent rom-com Upgraded), The Duel, is one of the more star-studded independent films in recent memory, boasting a cast led by recognizable faces like Dylan Sprouse and Patrick Warburton. Although it has thin characters and occasionally repetitive humor, The Duel is an entertaining satire that is just provocative enough to work.

The Duel follows two former best friends who find themselves at a crossroads when one sleeps with the other’s girlfriend. This leads them to a mysterious estate, where they engage in a ritual duel to the death. Matthews and Roberts take some very ambitious swings with their directorial debut, and while they don’t all work, it’s at least an intriguing work of satire.

The Duel has a funny premise ripe for satire

As far as independent films go, The Duel makes the most of its limitations to feel like it has a much larger scale than it actually does. The movie has very few locations, with nearly the entire second and third acts being set in a single mansion. Yet, the strong location work and production design, along with the script’s ability to effectively cut between storylines, keeps viewers engaged.

The Duel has a runtime of just over an hour and a half, and much of this runtime is built around absurdist humor. After a first act of set-up that prepares us for the eponymous conflict, the jokes are primarily situational — some variation of “Isn’t it crazy that our characters are doing this?” In a few scenes, Matthews and Roberts show a willingness to take the film to some darkly comedic extremes. Although seeing more of these moments would have been nice, there are enough to keep the movie lively.

However, this sense of humor also makes the conflict of The Duel feel somewhat trite. Matthews and Roberts clearly intend to juxtapose the life-or-death stakes of a gunfight with the melodramatic story of a love triangle, which is an interesting conceit. However, the film’s constant insistence on reminding the audience how stupid the protagonists are for making such a rash decision will keep viewers from really caring about their fate. An attempt at a backstory feels tacked on and underdeveloped, adding little in the way of emotional stakes.

Still, the script offers an intriguing deconstruction of toxic masculinity. Although the story itself is far-fetched, requiring a lot of suspension of disbelief on behalf of the viewer, Matthews and Roberts use this age-old display of masculinity and so-called “honor” to comment on the modern generation’s chauvinistic tendencies.

In the lead roles, Dylan Sprouse and Callan McAuliffe do pretty much exactly what is called of them, which is to be absolutely insufferable. That is to say, they give great performances, bringing to life these characters’ most annoying qualities. McAuliffe has a slightly more emotional performance, but he and Sprouse are both purposefully held at a distance from the audience.

Of the supporting actors, the most recognizable name is Patrick Warburton, who feels somewhat out of place in his role. He plays a quirky dude — not against type for him — but his purpose is little more than to deliver exposition. It doesn’t feel like a proper use of Warburton’s comedic talents. Ronald Guttman does have a very funny, if entirely stereotypical, supporting role, and Danny Love and Hart Denton are both enjoyable as the sidekicks.

Is The Duel worth watching?

The Duel leaves a bit to be desired in terms of its characters, mainly because its absurdist tendencies go overboard, but its satire is compelling enough to warrant a watch. Matthews and Roberts may milk their premise a bit more than they need to, but keeping the film’s runtime brief ensures it doesn’t overstay its welcome.

The Duel screens in theaters for one night only on July 31.

7/10

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