Editor’s note: Our review of Joss Whedon’s latest originally ran during this year’s SXSW film festival, but we’re re-running it as the film opens in limited theatrical release. William Shakespeare has had more film adaptations of his work than any other writer by a wide margin, and that trend shows no sign of stopping anytime soon. The reasons for this are varied and exhaustive, but few would argue it’s not a great thing to see. While most filmmakers maintain the Bard’s language and historical settings, some move the action and wordplay into the present with varying degrees of success. The latest director to do so, and one of the few to do so brilliantly, is Joss Whedon. Yes, that Joss Whedon. His Much Ado About Nothing is updated to modern Los Angeles with limousines, semiautomatic pistols and men in suits, but he keeps Shakespeare’s language intact. The tale takes place almost entirely at the compound of a government official named Leonato (Clark Gregg) who’s visited by fellow dignitary Don Pedro (Reed Diamond) and his two immediate officers, Benedick (Alexis Desinof) and Claudio (Fran Kranz). The latter falls in love with Leonato’s daughter Hero (Jillian Morgese), while the former has a friction-filled and antagonistic past with the man’s niece Beatrice (Amy Acker). It’s not all foreplay and country matters, though, as Don Pedro’s manipulative brother, Don John (Sean Maher), is intent on disrupting political relations by destroying relationships.