Spike Lee's take on the "Son of Sam" murders in New York City during the summer of 1977 centering on the residents of an Italian-American South Bronx neighborhood who live in fear and distrust of one another.
Armed with a licence to kill, Secret Agent James Bond sets out on his first mission as 007 and must defeat a weapons dealer in a high stakes game of poker at Casino Royale, but things are not what they seem.
George has just been released from prison, and manages to get a job driving a call girl from customer to customer. Initially they don't get on; he doesn't fit in with the high class customers Simone services. Will they ever get on?
A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in Los Angeles. He must find a way to save both himself and one last victim.
Hamlet, son of the king of Denmark, is summoned home for his father's funeral and his mother's wedding to his uncle. In a supernatural episode, he discovers that his uncle, whom he hates anyway, murdered his father. In an incredibly convoluted plot--the most complicated and most interesting in all literature--he manages to (impossible to put this in exact order) feign (or perhaps not to feign) madness, murder the "prime minister," love and then unlove an innocent whom he drives to madness, plot and then unplot against the uncle, direct a play within a play, successfully conspire against the lives of two well-meaning friends, and finally take his revenge on the uncle, but only at the cost of almost every life on stage, including his own and his mother's. Written by
John Brosseau <email@example.com>
First, what I didn't like. The acting was not really up to the Hamlet standard. Branagh was really over-the-top, doing a lot of yelling mostly. In my opinion, those actors who were not big-name celebrities generally did a better job; though I would except Billy Crystal and Robin Williams. (And Charlton Heston, too, but I wasn't sure if he was playing at being a hack.) A lot of the ambiguities in the play were clearly resolved one way in the flashbacks.
What I think speaks very much in this play's favor is that it is accessible. Shakespeare is hard to understand for the vast majority of people nowadays; many people are not even inclined to try, because of its reputation as Serious Literature and its archaic English. If they see this film they will understand clearly at least one man's interpretation of the play. They will be seeing it more as Shakespeare's audiences saw it: a play with sword fights and battles, and mighty kings and nobles, murder and incest and evil schemes and ghosts--and great art, if one cares to look for it, but in Shakespeare's day most didn't, any more than most people do now. Branagh's overacting, and his forcing of his interpretation of the story on the viewer, may detract from Shakespeare's art somewhat, but it is better that modern audiences get a piece of it, rather than nothing.
I've got to say one more thing though. Some people are complaining that "it's set in the 19th century and that wasn't Shakespeare's time". Well, in Shakespeare's time their costume and scenery was that of their own day for all of their plays. Shakespeare may have SAID it's in the days of ancient Rome or medieval Denmark or whatever, but he didn't dress his characters up like they were, he used the costumes of his own time. For the same reason his plays are full of anachronisms. For example, in King John the English and French have cannons--in Robin Hood's day. In Julius Caesar they talk of chimneys, which wouldn't be invented for another thousand years, and in Henry IV they talk about Machiavelli, who wasn't even born yet then. So I think this objection is silly--you might as well complain that the play isn't in Danish (after all they live in Denmark don't they?).
19 of 34 people found this review helpful.
Was this review helpful to you?