A very controversial picture walks on the blade of a knife, and the viewer will either like it, or the viewer will scold it diligently. The third is not given, because such unusual projects cause emotions that are directed either to praise or vice versa, mix it with dirt. And few people will be able to neutralize the picture.
To me personally, the film seemed a bit dull and even protracted, despite its short time (98 minutes). But it also has its own positives.
Cinema is essentially a play by Shakespeare shot in a modern way. The daughter of Tsimbelin, the leader of the biker-drug dealers, fell in love and married a guy whom Tsimbelin does not recognize and separates them. This leads to consequences and lies in the plot of the picture.
I personally liked the Shakespearean aspect. The everyday wisdom, which the main characters say in verses, in places is very relevant and accurate. But sometimes it just seems ridiculous. And in Russian dubbing at all.
In general, a movie that I would not advise anyone to watch, except for bikers who love Shakespeare. But still, the tape has its advantages, of which, unfortunately, not much. I was most excited about the final...
Cymbeline: Rulers of Rome, bikers and eternal love.
Fear no more the heat of the sun,
Nor the furious winter's rages.
After a non-trivial film version of the classics from Francis Fitzgerald in the framework of a 10-minute short film and the localization of Hamlet in modern New York, Michael Almereida again turns to world literature. “Cymbelin” in this reading turns from tragedy into an exciting love story, and the director, preserving the integrity of the author’s plan, does not refuse to introduce elements of technological progress into the narrative of long-gone days, such as smartphones and Google search engine.
The one-and-a-half-hour timeline of the film tells the viewer, who held the literary source in his hands, that the film version contains significant cuts and gaps. Almereida does remove many scenes - he shifts the emphasis on the romantic component, making "Cymbeline" a story about the daughter of King Imogen and his protégé Postumus. Sketches and characters that do not determine the development of relations between Imogen and Postumus, as well as arguments about royalty and power, vassal relations between the rulers of Rome and Britain were excluded.
This approach of the director and screenwriter, although it deprives many of the colors of the traditionally rich palette of content of “Cimbelin” (the structure of which includes recognizable nuances from “Romeo and Juliet”, “Twelfth Night” and “All is well that ends well”), but does not distort the meanings originally laid down by the author. Michael Almereida does what the vast majority of film and theater directors who turn to Shakespeare fail to do here – he presents an original version of reading the play, in which modern entourage is not a goal, but a means to present the text, to emphasize its timelessness.
Today, the appeal to the work of William Shakespeare is considered by many directors exclusively as a win-win PR, and “innovation” does not go beyond the performances in the interiors of the “dump”, when Hamlet wears a T-shirt with David Bowie on stage, and Coriolan has stools in the decoration of the rooms. Or, on the contrary, a film based on the classics is understood as a direct visualization of excerpts from the source, so Justin Kurzel shot Macbeth, turning a philosophical tragedy into a set of expensive but meaningless pictures. "Cymbeline" is the antipode and "experiments" The National Theatre, and "novelty" from Kurzel, which is very embarrassing to the part of the audience for which the name of Shakespeare does not entail any cultural references, acting exclusively as a brand.
The epic plot, based on the archaic legend of the King of the Britons Kunobelin, in the on-screen performance of Almerade, because of the intention to present the characters as monumental heroes and not lose the elevation of the syllable, tends to theatrical production, and not to the format with a resolution of 16:9. For the sake of creating an exposition, giving each scene a special atmosphere, the camera is delayed for a long time on interiors and landscapes, and the monologues in Cymbelin not only exceed the standards of fragmentary replicas of modern cinema, but also the verbal interaction of actors for the sake of preserving Shakespeare’s rhythm is filmed in one take. Amazingly, this allows Almerade to make the hipster Postumus (in his gray T-shirt and tight jeans) a man whose belonging to the royal court is undoubted, and Cymbelin, who changed his horse to a motorcycle, looks like a true ruler ready to go to war with Rome.
In principle, the only measure of the success of a production that transfers the realities of the Jacobin theater for centuries to come is the ratio of form and content. If the first dominates the second, then instead of Shakespeare's play, a parody is obtained. Otherwise, and this option belongs to "Cimbelin", the entourage and interiors not only fade into the background, but also ennobled, with all the usual take on the appearance of mysterious and unearthly.
While Shakespeare’s Cymbelin has been criticized for self-repeating and not gracefully crafting the links between the scenes, the flaws in Michael Almerade’s film stem from the dissonance between the mores of the times described in the play and the norms of 21st-century social behavior. It is very strange to watch how dispassionately the heroes, being contemporaries of the viewer, relate to a brutal murder, even if it is dictated by considerations of honor and nobility. In addition, it is impossible not to notice that in the final part of “Cymbelin” there is a certain confusion caused by contractions, overshadowing the traditional, always majestic for Shakespeare denouement, turning the finale into a partial declaration of the completion of storylines.
But all the roughnesses are insignificant in light of the fact that the director, with the help of cinematography, successfully manages to translate monologues, always spoken aloud on the stage, into the inner reflections of the characters; to convey the atmosphere of what is happening in the modernized kingdom of Zimbelin, using music clip inserts, and to supplement a number of scenes, the freedoms vulgarly would be seen in the theater, but permissible in the cinema (for example, Kloten’s masturbation at the time of his insidious plans for the rape of Imogen). Almerade’s overall strategy is similar to what Mark Rylance did at the Globe when he was artistic director – keeping the original design intact, adding some original details for the sake of novelty.
It is impossible not to mention the cast, on which, if we are talking about Shakespeare, not even half of the success depends, but principal luck, or the failure of the production. If the authority of Ed Harris does not allow you to doubt his skills, and Ethan Hawke has long passed with the English author to “you”, then young talents in the person of Dakota Johnson, Penn Badgley and Anton Yelchin, seemingly giving no reason to believe that they have the ability to five times stress, pleasantly amaze with their game.
Content from the 17th century and the form corresponding to all the parameters of the Sundance program, expectedly doomed "Cymbelin" to failure. This fact is very ironic, since “Zimbelin”, which is a true reading of the original, has nothing to do with the variants of destructive consideration of Shakespeare’s written, accepted by the mass public with hurrah, which is evidenced by the previously mentioned glossy, filled with a ringing void “Macbeth” by Justin Kurzel. But, should we talk about box office success and understanding among those who did not hold books with the title "Cimbelin"? It is unlikely that Mark Almereida was guided by an average individual buying a ticket for an action movie, which at will the distributor was positioned "Cimbelin". The director is only amazed at the unsolved for centuries of magic, born of the words of Shakespeare, and at the same time creates it himself.
There is no sadr story in the light than the tale of Cimbelin and the Caste.
Dressing classic characters in reels and conversions has long been not a culture shock, but a well-entrenched artistic technique. But if Baz Luhrmann, for example, manages to rhyme Hawaiian shirts and love to the coffin with ease, while pulling out all the passion of Shakespeare’s syllable, Michael Almereida works with varying success. His Hamlet was not without ingenuity, although on the whole it made a dull impression. “Cymbelin” turned out to be an empty pop, which is not destined to shoot even among the target audience (12+).
It is unclear what attracted the director in this forgotten play: the conflicts in it are conditional, the characters are schematic, the dialogue is pale. The plot does not develop at all: immediately behind the predictable for Shakespeare hype - bypassing the climax - a ridiculous happy ending appears. However, even on such ruins it was possible to build a golden palace: if not by visual effects, at least by acting efforts. Otherwise, why would you want such a star cast? . .
Alas, the connection of time has broken down. No one on set seems to understand why Imogena wears shabby shorts and Postum leaves in exile on a skateboard. The scriptwriters clearly decided not to be sly and rely on the classic: they say, the plot and the source text will do their job. It turned out the opposite: poorly worked out (still in the play) characters in modern realities turned into hangers for clothes. They have nothing to play, and the director seems to deliberately remove the little that somehow characterized them in the play. The virginity of Imogenes, for example, is conveyed in Shakespeare through her modesty on the marriage bed (according to her husband). What's in the movie? The role of “holy innocence” was taken by Dakota Johnson, who learned fifty shades of BDSM, who without a shadow of embarrassment hugs the groom in the opening scene, and in the rest of the screen time smells his T-shirt and flaunts to strangers almost in underwear. Can such a character be considered the embodiment of female honor?
Other characters are presented in a similarly ridiculous way. Postum (Penn Badgley) - instead of demonstrating intelligence and all sorts of virtues - only walks around, hangs his nose, and spoils the paper with children's scribbles. Yakimo (Ethan Hawk) - the insidious seducer in the play - appears on screen in an alcoholic T-shirt and can barely tie a few words. Cymbelin (Ed Harris) – who deserved Shakespeare an honorable place in the title – does not make any impression on the viewer. Kloten (Anton Yelchin) is a nasty scumbag on paper - nothing more than the lustful teenager in the film. Finally, the nameless Queen performed by Milla Jovovich is only a pale shadow of the greedy riches of an intrigue conceived by an English playwright. None of the famous actors did not bother to live their role and do a little more than they were prescribed (read: cut from the original source) scriptwriters. And the "magical reincarnation" Dakota Johnson in the boy is ridiculous! It was in the seventeenth century in the theater “Globe” hair circumcision was considered a special effect, but now who can do it?
It is a shame that Michael Almereida did not even fulfill the expected: he called everyone bikers, and forgot to give away motorcycles and reels. The low budget of the project put an end to both the appearance of the characters and the action scenes. There is no need to talk about any “beautiful new world” or special style: here we would understand why spaghetti is sticking out of a severed head in tomato sauce, or who was shot behind the scenes again. Perhaps, if you remove the original text of Shakespeare (which the actors are rattling under their noses, like rap) and melancholy music in the background, you get just thrash, in no way fits into the program of the Venice Film Festival.
“Cymbeline” is not the first film adaptation of the immortal works of the great playwright William Shakespeare (if someone does not know this name, then certainly respond). “Hamlet”, “Othello”, “King Lear”, “The Merchant of Venice” – they all found their director, actors, producers in order to come out in the film format. Yes, and Shakespeare’s most famous tragedy “Romeo and Juliet” was repeatedly filmed. The most famous and beloved by critics is still the work of 1968 by Italian director Franco Zeffirelli. More recently, another Italian Carlo Carlei made an attempt, however, to the furor of his compatriot he was a bit far away. But what unites Cymbelina and Romeo and Juliet in cinema is not only the genre of drama, but also the fact that these plays have been transferred to our time, while leaving the original text, only modifying the main characters in their role in society. Let me remind you that in this interpretation, the most tragic story was called Romeo + Juliet directed by Baz Luhrmann, where Leonardo DiCaprio and Claio Danes played.
The script “Cymbelin”, transferred to our time and based on the work of William Shakespeare, consists of the fact that the unrecognized king of the drug mafia (played by Ed Harris), a native of the biker movement, after a clash with corrupt policemen declares them a merciless bloody war. But nothing is alien to people, including the most base passions: in the family of Tsimbelin (such a name is the king of the criminal world) reign serious love affairs, directly related to the intrigues of the second wife of Tsimbelin, whom everyone calls only as the Queen (Milla Jovovich). But in all the tragedies of William Shakespeare, one can clearly consider that the power of love is all-conquering, no matter how much suffering it brings, only one should not think about the notorious happy ending, despite the entire flight of feelings that have passed fire and water, one can see another characteristic feature of the works of the great English playwright - the depth of the tragedy is so bottomless that it can easily cause the most tearful emotions. I will not touch on the plot further, it is better to read Tsymbelin or read it, but it is better to watch its production somewhere in the theater, because the film turned out to be somewhat weak.
But has "Cimbelin" the strongest cast. In addition to the deserved and recognized Ed Harris and Milla Jovovich will play in free interpretation from Michael Almerade Ethan Hawk, Delroy Lindo, Anton Yelchin, Penn Badgley and Dakota Johnson. With such and such a composition, it was impossible to work over sleeves (that is, if you omit the moment that the film is based on a play by Shakespeare himself!), but Michael Almereida failed to raise the film to a high note. Huge oversights are characterized by selected scenery and built pavilions - with them "Cimbelin" lost the essence of what is happening in our time. Some kind of cheapness was felt subcutaneously and clearly lacked the metaphorical, which is also famous for the works of William Shakespeare. But the viewer unfamiliar with the play may not pay attention to this, although this is striking, because the actors with all their might pulled this picture, perfectly understanding what movie he was lucky to play. Almost no one can be complained about. And only cheap entourage spoils the overall impression. As an example, there is a frankly clumsy shot scene of a grandiose shootout between Tsimbelin fighters and the police. It is a pity that such an important, but still more secondary element of the creation of the picture will be the most influential on the overall assessment of the film.
But back to the actors, their fans can be calm. At the moment, the rating of “Cimbelin” on the KP is some pathetic 4.7 points, but such a low score should take Michael Almerade, not the actors. Maybe nothing new and showed Ed Harris, but the role was his and the image of the crime boss, he tried it on and did it successfully (personally noted that with the shape of the face Harris brilliantly play the skull from “Hamlet”. Joke! Milla Jovovich got a multi-layered and characteristic role of the Queen, but, to be honest, she did not leave behind strong emotions and great memories, although she did not fail the role. Young Penn Badgley and Dakota Johnson gave their whole soul to their roles, no complaints, but you get a full range of feelings from them. Anton Yelchin tried to play a narcissistic hum, which he, in principle, succeeded. But most of all, Ethan Hawke's hero Yakimo left behind his memory. If it were not for this pompous french, then the whole story would turn the other side, but he, like a petrel, called trouble. And John Leguizamo will leave after a favorable impact, but for some reason you remember his excellent role in Romeo + Juliet (an interesting fact that the same actor will play in technically similar adaptations of the tragedies of William Shakespeare).
Cymbeline is not the most famous work of William Shakespeare, but it certainly deserves attention. An excellent cast did everything so that this tape did not go unnoticed, but it turned out to be in limited release and it was not their fault. The plots of William Shakespeare have never been ordinary, that’s what “Cymbeline” has intricacies and if you suddenly do not have to taste the film, then you should turn your eyes to the play of the great English playwright.
5 out of 10
I would have put “6”, but remembered the faded grayness of the picture from the cameraman Tim Orr and because of it took one point.
Interesting movie. If you do not immediately see what is what, you will definitely not like it. At the sight of a biker in a leather jacket, with a shiny pistol in the hands of a verse-speaking Shakespeare, at first takes a certain splash. But I understood the idea of the director about a minute on the tenth and then watched the film not as a work of fiction, but as a history textbook.
Yes, this film was shot as a history textbook for our descendants, so that a hundred years later it could be judged how far ancestors lived in the early 21st century. All the ultra-modern things like touch phones and tablets, electronic cigarettes, Apple laptops, black Kevlar Kalashnikovs, chrome Colts, and the beloved swarthy president against the background of the American flag on TV are too deliberately shown. To such an extent that sometimes it even cuts the eye.
The only sad thing is that the director was so carried away by the historical component and material details that he forgot about the play itself. As a result, the film leaves a sense of nearsightedness and incompleteness. Maybe it was underfunded, or maybe the director was too carried away with the props on the screen, which he so carefully placed and showed the viewer.
Verdict: An interesting film experiment that will be of great interest in fifty to a hundred years. This film was shot too clearly not for contemporaries, but for posterity, so in our time it can be of interest only to fanatical fans of Shakespeare or academic film critics.
Of the minuses: the acting of the beggar husband of the princess, riding on a skateboard, simply causes yawning urges. I've swiped through places with him, which I recommend to you. The action scenes are simply absent, despite all the pathos clapping of weapons and the twitching of the shutters. Well, Milla Jovovich here, unfortunately, played only the role of beautiful furniture, for which I reproach the director. You could give her more than five minutes of screen time.
Music - modern techno-pop - very nothing. It's a pleasure to listen. Very well played Ed Harris in the role of the king of drug dealers and Ethan Hawke in the role of a slander-seductress (another of his brilliant role).
Is it worth watching? Only if you have a completely free evening and you like Shakespeare and are interested in Ed Harris as the king of bikers. More, alas, for modern viewers there is nothing interesting in the film. Boring becomes places, boring. But decades later... We'll see.
“Nature has flour and chaff and abominable and adorable.” Act IV, Scene II
In general, all modern plots of the film are successfully slicked from the classics. In my opinion, nothing new has been invented over the past 10 years - the plots are repeated, mutated, overgrown with new branches in the plot and denouements, but the essence remains unchanged, invented by someone long ago and successfully forgotten by the viewer / reader.
Director Michael Almereida decided to be honest with the audience and co-authored a classic of Shakespeare classics. And not just as a co-author - he undertook to create a play on the screen, retaining a line of dialogue and syllable features. To be honest, the project is so risky for me, because the modern viewer does not appreciate such chips. For a play, he can go to the theater, and cinema is a movie, according to everyone. And I also adhere to it, so with great fear and a share of bias I began to watch this tape. And you know, I loved it! But everything in order.
The cast of actors Ed Harris, Dakota Johnson, Ethan Hawke, Milla Jovovich and even our Anton Yelchin are caught in the eye. With such a team, taking on any project is not scary, as for me. And the actors really play great, not at the Oscars, of course, but spectacular and bright.
The production itself is very original - the plot of the play is transferred to the world of bikers of the 90s. Cruel, with its own laws and unique color. Yes, the performance in the form of shootings and active scenes is lame, you can’t say anything – there is a serious flaw. Still, I would add more heavy music to the musical accompaniment, these are still bikers, not lyric students.
I do not want to write much about the plot, chips and dialogues. It seems to me that someone who is interested in this genre will definitely watch it. Whoever plays aren't nice -- I tell you right away, don't even try -- you start spitting from the beginning. Taking into account all the pros and cons, and the fact that I liked the film, I boldly put it.
6 out of 10
There is no better story in the world... We're on Shakespeare again.
Specifically for this film, I tried to find more excuses for his stupidity than to convince him of its suitability for viewing.
At the very beginning, a clear hint of Shakespeare’s play is shown, this applies to the credits, where the viewer is acquainted with the characters.
Ethan Hawke, the actor from whom I got to see the movie, from which not much good was expected for me, it seemed that for myself I would again see a dummy, a dummy from which I want to spit. Still, we know that the rearrangement of the classics, and to be more precise, its modernization looks slightly bad, or rather because of this modernizing the classics often turn over in coffins, but here the situation is completely different, as if the maps developed during my viewing. Somehow I myself was in a little surprise that everything turned out quite tolerable, in some moments beautiful. The music superimposed on the frame of the plot perfectly conveys the very atmosphere of Shakespeare, which is in the original source, a bit reminiscent of the film of the same theme “Romeo + Juliet” by Baz Luhrmann.
I didn’t expect anything from the actors, but Hawke played on an honest average, and the rest also, except that I fell in love with Dakota Johnson (although I still have some complaints about her about the movie “50 Shades of Grey Despondency”). But the whole story is smooth and easy, with an admixture of crime and blood, shootings, and Mila Jovovich, Ed Harris, John Leguizamo, Russian Antosha Yelchin, but I have already said a lot about the actors.
I liked the film from Michael Almeraid, but I am well aware that he has enough minuses (there is a whole carriage here!), especially this applies to his so-called small severe depressiveness - I am not talking about timekeeping, I say that the narrative in some individual moments was in a stupor, that did not come out terribly dreary and dull, perhaps there was a reason that the text of Shakespeare reached our times in a bad state, and already had to refine it himself Almeraid. Still, I appreciate that kind of romance, a subject with the same bikers, guns and good actors.
Let Michael Almereida tell you for me with his Zimbelin, created carelessly from the point of view of cinema, but competently in relation to the original source of Shakespeare. This is a well-made production with a tilt on crime in the spirit of “Sons of Anarchy” and the romantic mood of “Dangerous Illusion” (2014). In general, this is the case for young people!
And I am well aware that my review of this film, a simple desire will stand out among other sofa film critics (which I myself am), but believe it or not I liked the film, although I will not recommend it for viewing, decide for yourself.
7 out of 10
"Cimbelin" can hardly be called a coherent dynamic play. The plot here is rather confused - and with all this - there are no bright memorable characters in sight. Moreover, the denouement is so replete with “gods from the machine” that some hypothetically subsequent events seem much more interesting than all the heroic-romantic fuss that just happened before my eyes.
I was looking forward to a new adaptation of this play. Perhaps because I think Hamlet (2000) is one of the best films ever made based on Shakespeare.
However, this time, in my opinion, the director suffered a failure.
Moreover, everything here is very good: the cast, and camera work, and the work of artists, costumers, makeup artists, etc. The atmosphere in the film "Cymbeline" - succeeded, as they say, for all 100. The world of old bikers, both pathetic and cruel, is a very successful embodiment of the world of conflict between Britain and Rome. Ancient history has been transported to our days - dignified and convincing.
But here's the pace, the rhythm of the film... Every 5-10 minutes – an already rather confused story – crumbles into dust. Slowly, very slowly, everything happens. And if the reels and submachine guns seem more appropriate than I do for the new Cymbelin, then the film’s emphasised slow pace is frankly discouraging. It's a director's decision - I can't help but accept or understand. Alas.
5 out of 10
King Zimbelin of Britain is fighting on two fronts. Cymbelin has to fight against the external enemy - the Romans, as well as against the internal enemies - members of his own family. The second wife of Zimbelin (named modestly: Queen) wants to marry her son Kloten to stepdaughter Imojen. She may be in love with Leonat Postum and secretly marry him. The Queen (of good intentions) reports about the engagement to Cimbelin, who joyfully banishes the wife away (to Rome). And then there will be what usually happens in Shakespearean tragedies: severed heads, poison sprinkled with someone’s playful pen, intrigue, envy, and a sea of love.
Director Almereida is not the first time undertakes to change the work of Shakespeare in a modern way. The first experience dates back to year zero, with Hamlet starring Ethan Hawke. Now the director has taken on “Cimbelin”. This tragedy became available to connoisseurs only after the death of Shakespeare, and did not give rest to many playwrights, some even composed alternative endings for it. Despite the humanism of Shakespeare, and the mountains of corpses familiar to his tragedies, there is an opinion that the ending is too sweet - too reminiscent of a sweet happy ending, so it would be nice to add blood.
Cymbeline is bred in the film by the leader of the biker gang. Wrinkled like a curly boot Ed Harris (a kind of man in harmonica) flaunts in a sleeve (the guy is only 64), a skin-covered skull, some pits on his face, senile folds, a rare (like a chick) down on his head - he looks like his own corpse, it is simply impossible to look worse. Harris looks what he is - a tired pensioner, neither malice nor power, not even a demonstration of relief muscles.
The Queen (Mila Jovovich) shows neither deceit nor greatness. If you are not familiar with the text of the play, it is difficult to guess its true role in this story. Show it a couple of times, the usual Jovovich - eyes, teeth, once sings a song from a children's morning. It's a pass.
The idol of girls Anton Yelchin (Kloten) should perform an infernal scoundrel, arrogant, punchy, cynical. It turned out a teenager, not remembered for anything other than the fact that chases Dunka Kulachkova, representing the future wife.
In Shakespeare’s tragedies, there is such a type: a sneaky scoundrel pushing opponents against his foreheads, sowing doubts, an insidious intriguer, caught a thief of evidence, a liar and a manipulator. Iago in Othello, Yakimo in Cymbelin. Yakimo plays Ethan Hawke - the most unfortunate choice for this role. Hawke looks like a homeless man who was shaken out of a dumpster, shoved into a sweaty palm of a ragged ten and asked to replace a drunken actor. Sticky hairs, unkempt (with the remains of yesterday's meal) wart, saggy lower jaw, an expression of shameful meanness in the eye, a glossy shirt - an alcoholic. Is that what a crook and a weasel should look like? Where's the enveloping, subtle voice? Where is the flexibility of the spine, the manners of an experienced seducer, the grace of a predatory beast? There is none of this, there is some complex overgrowth, awkward, angular.
The film gives the impression of carelessness, incompleteness. Incomprehensible choice of actors, scenes of violence (shamefully left behind), the wretched main character - she inspires pity, and a sense of awkwardness (like Mother Teresa performing a private dance). For reasons of political correctness, the page Bellarius in this film turned black (Delroy Lindo), and the enemies of the Britons (Romans) are shown as cops (because the Britons are bikers).
Bottom line.
It's an awkward movie.
This is the second time that director Michael Almereida is filming Shakespeare. And if the first time he turned to one of the most famous plays of Shakespeare “Hamlet”, this time his choice fell on the play “Cymbeline” – one of the most underrated and forgotten Shakespeare’s plays. Like the first time, the director takes the play to the modern world, and here the war between the two states turns into a war between bikers and policemen. Almereida largely belittled the play, made it accessible to everyone, such modern words as an iPhone, a gun and others are interwoven into Shakespeare's lines. Sometimes it cuts the rumor and it turns out that all too obviously the director proves the right of Shakespeare to exist in the world of the 21st century?
Acting is good. Harsh Ed Harris, crooked So Hawk and majestic Mila Jovovich attract attention, but played the main lovers (Penn Badgley and Dakota Johnson) makes you want more, lacking some chemistry between them.
All in all, it’s a very interesting film experiment on Shakespeare’s adaptation, as Baz Luhrmann’s Romeo and Juliet once was. And returning to the question of the existence of Shakespeare in the modern world, one can answer that Almereida proved this vitality.
8 out of 10
It was not the virtue of the lady that worms were scorching.
When I came across the trailer and information about the movie, I immediately wanted to see it. She went with anticipation and anticipation of an active video sequence, with the expectation of exactly "rattling mixture". Actors participating in “Modern Shakespeare” only added to the expectations of a worthwhile film: Ethan Hawke, Ed Harris, Mila Jovovich, John Leguizamo.
But heavy film artillery and a well-made trailer lifted a very intriguing veil, behind which, unfortunately, there was not that strong embodiment of the story, the expectations of which skillfully excited. But I'm really sorry.
"Kings, queens, bikers, war"
This is Shakespeare and not even the story.
Poems are made up of speeches.
Love, War, Liars, and Liars
The intricacies of fate,
But somehow everything goes dry.
Without passion, without heat.
The intrigue was clearly sweeter.
For the first time I didn’t have enough blood in the movies, the movie is poor in dynamics, everything is very smooth. Named war, with a stretch can be called poorly staged small street showdown.
Boykers, you need to pay attention to them, because it is quite easy to forget that they participate in the plot of the film and are the main entourage of the film, although the idea is not bad and the soil of the "kingdom" is fruitful, but there is no concentration of this factor in the film.
Kings and queens... and that made me sad, did not press the status. It seems that everything is, but in such portions that it is very difficult to saturate or at least try it.
I left the movie "hungry".
The tragedy was on the verge of comedy.
But there were pluses:
Mila Jovovich, aka Queen (also in the past Joan of Arc). What can you say, her role? The status, the grandeur, the manners are all familiar. Not WOW, but it's nice to watch, which is good.
Ethan Hawk (Yakimo) is a cunning and a crook, pleasant to the eye. In fact, there were no doubts about it, plus the incarnation of the hero was at a high level.
The antihero, the Queen's son in the role of Aten Yelchin, was good and evoked unambiguous and correct emotions for him.
Penn Badgley and Dakota Johnson, although they had some of the main roles, but without much impression. Even play, and theater and cinema managed to show. The last shots of their interaction were quite funny and whose idea it is for us, the audience, to understand quite difficult.
And yet I slip into a "minus", rather in some "b" neutrality . This is one of those films in which the trailer surpassed the film, but you can watch out of curiosity, and just for general development. But keep in mind, you won’t find echoes of Sons of Anarchy here, and most likely Game of Thrones too. But the experience is interesting.
After Romeo+Juliet, Baz Luhrmann was looking forward to this picture as soon as he saw the first trailer. I wouldn’t say it lived up to expectations, but it would be a sin to ignore the fact that watching it was incredibly fun. Once again, I made sure that Shakespeare's plays perfectly fit the modern grueling and disassembly of drug lords, the mafia, the police with guns instead of swords, drugs and other criminals. And the pathos recitatives and the original text in verse simply plunges at the same time into the break of the template and into real ecstasy from the vision of all this madness. I'll celebrate a great soundtrack. The acting was good, but not always satisfied, maybe it's a crooked dubbing?
10 out of 10
It is no secret that the works of Wiyam Shakpir are classics, and it is known to be eternal. Probably, it was this argument that guided the creators of the eponymous film based on the play by William Shakespeare “Cymbeline”.
I want to say right away that the cast, of course, is impressive, all of them are probably very familiar to you, play, of course, decently, they are pleasant to look at), and now about the picture itself.
This is a very unusual adaptation of the work, since the action takes place today, and the characters are not dressed in historical costumes at all, they are modern “kings, queens, princesses, poor people, etc.” It's certainly interesting, BUT the only thing that's embarrassing is that they talk the way Shakespeare wrote, with little extras. Because of this, the film is difficult to watch, especially at the beginning, because it is at least strange to see a male criminal, wearing a leather jacket and a weapon in his hands, who says a beautiful skispy text. This may even seem absurd... Personally, I explained this by the fact that the authors of the film wanted to remind the viewer of the beauty of the literary word, and that “Tsimbelin” is one of the works “for all time”, and the problem touched upon in it is present in human life to this day.
I can’t say I’m thrilled, the film isn’t easy, the story itself is hard.