Starring Alexis Denisof and Amy Acker. Rated PG.

You have to hand it to Joss Whedon. Fresh off the success of a splashy blockbuster like The Avengers, he decides to take a quirky left turn by directing a modern-day version of Shakespeare’s Much Ado About Nothing.

Shot in black and white, it’s the cinematic equivalent of a palate cleanser. We’re definitely in the current world, filled with sleek computers and men in tailored suits sipping vintage wine. At the same time, there’s a slight retro feel reminiscent of the early ’60s. More sly than shrewish, more subdued than sharp, this is a movie that takes justifiable pride in being delightfully low-key.

Utilizing a stock company of actors handpicked from his previous projects—while setting the action against the backdrop of a comfortably worn country house—Whedon is smart enough to recognize that bigger isn’t always better. His decision to employ minimal adornment while placing his trust in Shakespeare’s classic tale of love, wit, and mistaken identity proves to be oddly refreshing.

Some may crave a more energetic attack when it comes to the text, but, as Benedick and Beatrice—prospective lovers who would rather engage in a battle of wits than admit their true feelings—Alexis Denisof and Amy Acker favour a more naturalistic approach. It works well, especially in the case of Acker, whose ingratiating performance takes us precisely where Whedon wants to go.

The supporting cast has a great deal of charm, particularly Claudio (Fran Kranz) and Hero (Jillian Morgese) as the young couple whose love is almost undone by the evil Don John (Sean Maher). Although nobody delivers so much as a false move, Nathan Fillion’s Dogberry manages to provide comic relief with an admirable touch of restraint. It’s all part of an atmosphere that—although never overdone—leaves you feeling more than satisfied.