Written and Directed by Petr Jákl
Starring Ben Foster, Sophie Lowe, Michael Caine, Til Schweiger, Matthew Goode
Rated R
Runtime: 2 hours 6 minutes
In theaters September 9

by Gary M. Kramer, Staff Writer

American audiences may not know the history of Jan Žižka, the undefeated—whoops, that’s a spoiler!—15th century Czech general who is the subject of Medieval. And they still may not really know much after seeing this ultra-violent historical drama which focuses on an episode in Žižka’s (Ben Foster) career that perhaps contains more fiction than truth. 

An early voiceover provides viewers with the necessary history. After the death of the Holy Roman Emperor, Charles IV, there is a battle for the crown between two brothers—the Czech King Wenceslas (Karel Roden), and the Hungarian King Sigismund (Matthew Goode). Influencing things is Lord Rosenberg (Til Schweiger), who is conspiring with Sigismund to get control of the throne (and land). As such, Lord Boresh (Michael Caine) enlists Žižka to kidnap Lord Rosenberg’s fiancée, Lady Katherine (Sophie Lowe) to have some sway on who gains power. 

Medieval opens with Žižka and his men fighting off assassins who try to ambush Lord Boresh’s safe passage. It’s an intense, bloody sequence typical of the action scenes that form much of the film. Soon after, Lady Katherine is kidnapped attending church; meanwhile her betrothed is finishing up in bed with a naked lady. (So much for loyalty.) The story has Lady Katherine being protected by Žižka until she is recaptured by Torak (Roland Møller), only for there to be a series of additional retaliations, re-capturings, and reversals of fortune.  

There are a few reflective moments, such as Žižka talking about God’s will, or a fever dream he has, later recounted to Lady Katherine, but these episodes do not provide much insight into Žižka. Medieval is not a biopic, which is perhaps to its credit. Director Petr Jákl lets Žižka do his thing, and one battle scene shows his ingenuity in the art of war. As Torak and his men set up to wipe him out, Žižka creates a smoke screen, sets up a shield, and enables his men to kill rather than be killed. It is one of the film’s best sequences.

When Žižka sustains a head injury that blinds him in one eye, Lady Katherine treats his wound, using maggots she finds feeding off a dead rodent. As they each save the other from harm, it is only a matter of time before they help the other see the reality of the political situation, and eventually kiss. 

But Foster is miscast as Žižka (despite a slight resemblance to him). He is more brooding than impassioned even when he talks to his men about sacrifice. Moreover, Foster has very little chemistry with Lowe. They should be inspiring each other (and viewers) but only a poignant scene of Lady Katherine washing blood off her hands provides a decent bonding moment. Their scenes together are more bland than compelling, filler between action scenes.

It is the villain of the piece who keeps Medieval most interesting. As King Sigismund, Matthew Goode, with dyed hair, is rather devious as he double-crosses folks as or after they help him achieve his goals. Goode plays King Sigismund with relish, and his exchanges with Lord Boresh, Lord Rosenberg, and King Wenceslas inject the film with some intrigue and verve.

There is also not enough investment in the supporting characters to care if they live or die during the fight scenes. A handful of rebels who help Žižka and his men register only because they are fighting for justice—to keep Rosenberg from taking their land. 

Mostly, Medieval offers wall-to-wall action, which can grow tiresome after a while. For every nifty visual—as when Freddy (Alistair Brammer), a sniper, shoots an arrow into the open mouth of his enemy—there is a risible one, such as when a lion makes someone his plaything. 

It may be the superficial approach to telling Žižka’s story that is why the film is so underwhelming. The cinematography is crisp, and the action sequences are mostly impressive. Medieval is reported to be the most expensive Czech production to date, and it does look good. But the performances are uneven, and the script is often didactic with lines about kings being chosen by God, but still making the mistakes of man.

Surely, Žižka deserves a proper cinematic tribute. Medieval is not quite it.