Much Ado About Nothing is a 2012 American romantic comedy film written, produced, directed, edited and composed by Joss Whedon, based on William Shakespeare's play of the same name.

In addition, the film adds background to the relationship between Beatrice and Benedick by showing, in an opening scene, a morning after they apparently slept together, and later, flashbacks that confirm this.

Inspired by the exposing nature of film, Whedon decided to infuse a recurring motif of sexuality, "...because it's a visual medium.

[17] Whedon's idea to adapt the play for the screen originated from having "Shakespeare readings" at his house with several of his friends, years prior.

[19] The film was shot hand-held, digitally with multiple cameras, often with a RED Epic, and used a Lensbaby Composer with Double Glass lens on a Canon 7D to differentiate certain scenes.

[21] All tracks are written by Joss Whedon, except where notedMuch Ado About Nothing had its world premiere at the 2012 Toronto International Film Festival.

[25] The film's North American distribution rights were acquired by Lionsgate, in association with Roadside Attractions, for a joint theatrical release.

[50] In limited release and playing in only five theaters in New York City, Los Angeles and San Francisco, it grossed $71,000 on its first day.

The website's critical consensus reads: "Lighthearted to a fault, Much Ado About Nothing's giddy energy and intimate charm make for an entertaining romantic comedy—and a Shakespearean adaptation that's hard to resist".

Would the film be able to sustain its confident manic tone, maintain its humor and smarts, its depth of characterization and innovative use of text and landscape?

[65] The Guardian scored the film four out of five stars, calling it "...the first great contemporary Shakespeare since Baz Luhrmann's Romeo and Juliet".

[66] Christopher Schobert of IndieWire wrote: "The result is an utter joy, Whedon's most emotionally resonant and fully realized feature film to date.

[63] BBC Radio 5 Live's Mark Kermode said of the film: "One of the things that it manages to do is, firstly, make all the dialogue and the language completely comprehensible".

"[68] Helen O'Hara of Empire believed that, while keeping a sense of noir to compensate the romance, it was "in balancing these competing elements and characters that this version really shines".

[71] A. O. Scott of The New York Times called it "the liveliest and most purely delightful movie I have seen so far this year", concluding to laud the film for its "sly, robust eroticism".

[72] Andrew O'Hehir of Salon wrote: "[It] possesses that Whedon-esque nerdy energy, fizzing with humor, eroticism, booze and more than a hint of danger".

[73] Kenneth Turan of the Los Angeles Times thought the film was "good-humored and unpretentious in equal measure", going on to praise its visual performance.

[75] Joe Morgenstern of The Wall Street Journal gave high encomium to Kranz's performance, expressing that the actor "portrays Claudio with affecting passion", and says of the film: "The joyous spirit of the play has been preserved in this modest, homegrown production".

[77] Justin Chang of Variety sensed that the black-and-white evoked a "timeless romanticism", which was additionally enhanced by the "lightly applied score".