Matthew Ninaber’s A Knight’s War (2025) is a bold and visually striking medieval action film that blends brutal combat, political intrigue, and a touch of arthouse storytelling. Written, directed by, and starring Ninaber himself, the film is a passion project that wears its influences on its sleeve—drawing from Gladiator, The Northman, and The Green Knight—while carving out its own identity. Though flawed in pacing and narrative cohesion, A Knight’s War delivers enough visceral spectacle and emotional weight to make it a noteworthy entry in the sword-and-shield genre.

Plot and Themes: A Tale of Vengeance and Redemption

Set in a fictional medieval kingdom, A Knight’s War follows Sir Alden (Matthew Ninaber), a disgraced knight who is betrayed by his lord and left for dead. After surviving the massacre of his men, Alden embarks on a quest for vengeance, only to find himself entangled in a larger war between rival factions vying for the throne. Along the way, he encounters a rogue’s gallery of mercenaries, scheming nobles, and a mysterious warrior woman (played by Jessica Clement) who may hold the key to his redemption.

Thematically, the film explores loyalty, honor, and the cyclical nature of violence. Alden’s journey is less about triumph and more about confronting the futility of revenge—a well-trodden path in medieval epics, but one that Ninaber approaches with sincerity. The script occasionally falters in balancing its philosophical musings with its action-driven plot, leading to moments where the pacing drags. However, the emotional core—Alden’s struggle between his knightly vows and his thirst for retribution—remains compelling throughout.

Visuals and Cinematography: A Gritty, Atmospheric Feast

One of A Knight’s War’s strongest assets is its striking visual style. Shot on location in rugged landscapes that evoke the harshness of the medieval world, the film employs a muted, earthy color palette punctuated by bursts of crimson in its battle scenes. Cinematographer Jordan Kennington (who previously worked on The Last Victim) crafts a world that feels both mythic and grounded, with long takes that immerse the viewer in the brutality of combat.

The action sequences are where the film truly shines. Ninaber, who also served as the film’s fight choreographer, brings a raw, unflinching approach to the swordplay. Unlike the overly polished duels of Hollywood blockbusters, A Knight’s War opts for messy, exhausting battles where every swing feels consequential. The standout set piece—a siege on a fortified castle—is a masterclass in tension and chaos, recalling the best moments of The Lord of the Rings on a fraction of the budget.

Performances: A Mixed but Committed Cast

As both lead actor and director, Ninaber delivers a physically imposing performance, embodying Alden’s rage and weariness with convincing intensity. His brooding presence anchors the film, though his line delivery occasionally veers into monotony—a minor quibble in an otherwise strong portrayal.

The supporting cast is a mixed bag. Jessica Clement (known for Slumberland) brings depth to her role as the enigmatic warrior Elara, though her character’s arc feels underdeveloped. Paul Amos (from Lost Girl) chews scenery as the film’s primary antagonist, Lord Valtor, but the script doesn’t give him enough nuance to be truly memorable. The real scene-stealer is Aaron Douglas (Battlestar Galactica) as a grizzled mercenary captain, injecting much-needed humor and gravitas into the film’s darker moments.

Music and Sound Design: An Evocative Soundscape

The score, composed by Blake Matthew (who previously collaborated with Ninaber on Soul), is a haunting blend of orchestral swells and medieval instrumentation. The recurring motif for Alden—a mournful, string-heavy theme—effectively underscores his tragic journey. The sound design is equally impressive, with every clash of steel and crunch of bone rendered in visceral detail.

Flaws and Missed Opportunities

For all its strengths, A Knight’s War is not without its shortcomings. The film’s middle act suffers from uneven pacing, with several scenes that could have been trimmed for a tighter runtime. Additionally, some of the dialogue leans too heavily into archaic speech, making certain exchanges feel stilted rather than authentic.

The world-building, while visually rich, lacks depth in places. The political machinations between the warring factions are introduced but never fully explored, leaving some plot threads feeling unresolved. A stronger script edit could have elevated A Knight’s War from a solid indie effort to a genre classic.

Final Verdict: A Worthy Addition to the Medieval Canon

Despite its flaws, A Knight’s War is an admirable achievement—a low-budget passion project that punches above its weight. Ninaber’s dedication to practical effects, intense combat, and atmospheric storytelling makes this a must-watch for fans of gritty medieval epics. While it may not reach the heights of The Green Knight in terms of thematic depth or The Northman in sheer spectacle, it carves out its own niche as a raw, unfiltered tale of vengeance and honor.

Rating: 7.5/10

Pros:

• Stunning cinematography and production design

• Brutal, well-choreographed action

• Strong lead performance from Ninaber

• Evocative score and sound design

Cons:

• Uneven pacing in the second act

• Underdeveloped supporting characters

• Some clunky dialogue

Who Will Enjoy It?
Fans of The Northman, Gladiator, and Kingdom of Heaven will find much to appreciate in A Knight’s War. It’s a film made by medieval enthusiasts, for medieval enthusiasts—and for that alone, it deserves recognition.

Matthew Ninaber may not have crafted a flawless masterpiece, but he has delivered a fiercely ambitious and visually arresting film that marks him as a filmmaker to watch. If A Knight’s War is any indication, his future projects could very well reach legendary status.