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Mary Queen of Scots (2018)

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Mary Stuart's attempt to overthrow her cousin Elizabeth I, Queen of England, finds her condemned to years of imprisonment before facing execution.

Director:

Josie Rourke

Writers:

Beau Willimon (screenplay by), John Guy (based on the book "Queen of Scots: The True Life of Mary Stuart" by)
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Popularity
64 ( 26)

Which Women Inspire the 'Mary Queen of Scots' Cast?

Who are the female actors and directors that inspire the Mary Queen of Scots stars? Margot Robbie, Saoirse Ronan, Joe Alwyn, and director Josie Rourke share their picks.

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Nominated for 2 Oscars. Another 4 wins & 19 nominations. See more awards »

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Cast

Cast overview, first billed only:
Angela Bain ... Snuffer Woman
Richard Cant ... Thomas Andrews
Guy Rhys Guy Rhys ... Earl of Kent
Thom Petty ... Earl of Shrewsbury
Saoirse Ronan ... Mary Stuart
Izuka Hoyle ... Mary Seton
Margot Robbie ... Queen Elizabeth I
John Ramm John Ramm ... Bull
Simon Russell Beale ... Robert Beale
Abby Cassidy Abby Cassidy ... Fotheringhay Gentlewoman
Shalisha James-Davis Shalisha James-Davis ... Fotheringhay Gentlewoman
Maria Dragus ... Mary Fleming
Eileen O'Higgins ... Mary Beaton
Liah O'Prey ... Mary Livingston
Greg Miller Burns ... Thomas Hepburn
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Storyline

Mary Queen of Scots explores the turbulent life of the charismatic Mary Stuart. Queen of France at 16 and widowed at 18, Mary defies pressure to remarry. Instead, she returns to her native Scotland to reclaim her rightful throne. But Scotland and England fall under the rule of the compelling Elizabeth I. Each young Queen beholds her "sister" in fear and fascination. Rivals in power and in love, and female regents in a masculine world, the two must decide how to play the game of marriage versus independence. Determined to rule as much more than a figurehead, Mary asserts her claim to the English throne, threatening Elizabeth's sovereignty. Betrayal, rebellion, and conspiracies within each court imperil both thrones - and change the course of history. Written by Focus Features

Plot Summary | Plot Synopsis

Taglines:

Two Queens. One Future. See more »


Motion Picture Rating (MPAA)

Rated R for some violence and sexuality | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK | USA

Release Date:

21 December 2018 (USA) See more »

Also Known As:

Mary Queen of Scots See more »

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Box Office

Budget:

$25,000,000 (estimated)

Opening Weekend USA:

$194,777, 9 December 2018, Limited Release

Gross USA:

$16,468,499, 31 January 2019

Cumulative Worldwide Gross:

$22,446,509, 20 January 2019
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Atmos

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

In August 2012, it was announced that Saoirse Ronan would play Mary Stuart. On 21 April 2017, Margot Robbie entered negotiations to play Queen Elizabeth I. See more »

Goofs

At the end of the film, Elizabeth's title is stated as queen of 'England and Wales'. This title was never used by any English monarch, as Wales was never an autonomous kingdom of its own. Alternatively, Elizabeth I would have claimed the title 'Queen of England, France, and Ireland, Defender of the Faith'. See more »

Quotes

Queen Elizabeth I: Your beauty, your bravery, now I see there's no cause for envy. Your gifts will be your downfall!
Mary Stuart: Should you murder me, remember you murder your sister... and you murder your queen!
See more »

Connections

Featured in Front Row: Episode #3.3 (2018) See more »

Soundtracks

Les Poules Huppées
Written by Gilles Chabenat
Arranged by William Lyons
See more »

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User Reviews

 
Mary, Queen of 2018 Scotland
16 December 2018 | by mjjusa-1See all my reviews

Not a godawful movie, but close.

Badly miscast: Mary with a strong Irish accent; Margot Robbie in appearance, voice, and acting not convincing as a Queen, the daughter of Henry VIII, or the force of history Elizabeth I was. The screenplay not only departs from the historical record for farcical reasons (Mary's dramatic life and death need little massaging) but introduces anachronisms ranging from gender study issues, to the incongruous casting of minorities in some virtue peddling Oscar Ceremony shoutout.

Adding in, for whatever reason, a prominent but historically impossible gay/cross dressing subplot, thriving in 16th Century, John Knox-ian Holyrood Castle. Hard to follow during long stretches of promise/double cross/dastardly plots a go go/to war or not to war, and when followed intermittently interesting.

I left feeling even more admiration for Shakespeare: his distillation of the complexity and violence of Scottish history in Macbeth, with nary a nod to his or our modern sensitivities of the moment, is, in the context of reviewing this movie, as of comparing Duane Allman's solo in Crossroads, to my awkward, and slow version of Pipeline by the Ventures.


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