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Good entertaining fictional historic movie. Just don't try to chew on whether the history is true or not but enjoy the plot.
**A film that would be much better with less sudden flashbacks, fewer anachronisms and a more careful explanation of the theory it comes to present.** I've already written a lot here, and I've said it a few times, but it's worth saying again that, although I'm a historian and I like Shakespeare's work, I'm not a native English speaker (I'm Portuguese and I speak the language of my country) nor am I an intensive or specialized connoisseur of the playwright's life and work. Therefore, I certainly won't offend anyone if I say that, until I saw this film and documented myself a little to write about it, I didn't know that there were controversies surrounding the identity of Shakespeare. It is perfectly normal that there are doubts about the authorship of some of the works of an ancient author, there are many examples. Less normal is that there are doubts surrounding the totality of his work. The film advocates the following theory: the real Shakespeare neither wrote a line nor knew how to write. Who really wrote the works, dramatic and poetic, to which he lent his name was someone who, for social and political reasons, could not do so: the Earl of Oxford, a nobleman and courtier. I'm not going to question whether this is true or false, there are people better qualified to talk about it. What I can say is that I wasn't convinced. If Oxford, for some reason, could not exhibit his literary work, how did he acquire fame as a playwright and poet? It does not make sense. Furthermore, for me, until this moment, Shakespeare was an author who did not deserve discussion. Trying to turn him into someone else's figurehead seems to me something that can only be asserted with overwhelming evidence, and not only do we not have that evidence, but the amount of historical inaccuracies and anachronistic errors that the film carries as well do not make us comfortable about the theory it presents. However, the most complicated thing about this film are not the anachronisms or the far-fetched theory that it brings us, but the flashbacks and flash forwards that occur almost without warning and make it very difficult to follow the story. I also didn't like the way the film assumes from the outset that the audience is familiar with Shakespeare's life and the Tudor period. I happen to know, but people don't have to read an English history textbook before seeing a movie. When I saw Roland Emmerich's name in the director's seat, I also feared the worst. I feared that we had something brutally destroyed or that we were witnessing some kind of disaster. Luckily, or maybe not, we only have to mourn the loss of the Globe Theatre, completely consumed by a fire. Anyone who thought he was going to be able to make a film without destroying something didn't know him. The film has excellent actors, and most of them do an impeccable job. I particularly liked Rhys Ifans and Sebastian Armesto, but Rafe Spall, David Thewlis and Joeli Richardson were also excellent in their roles. Vanessa Redgrave also does a well done job, but she had already played this role before, in another film, if I'm not mistaken. On a technical level, the film relies heavily on high-quality, well-crafted CGI, and on a selection of filming locations made with great care and discretion. On all levels, the film appears to be a major production, with some effort and investment.
Tired of the crime overrunning the streets of Boston, Irish Catholic twin brothers Conner and Murphy are inspired by their faith to cleanse their hometown of evil with their own brand of zealous vigilante justice. As they hunt down and kill one notorious gangster after another, they become controversial folk heroes in the community. But Paul Smecker, an eccentric FBI agent, is fast closing in on their blood-soaked trail.
Ballet performance by The Royal Ballet, recorded at Covent Garden, London, United Kingdom, July 1984.
The movie depicts the political crisis that led to the suicide of president Getúlio Vargas, in the 19 days that preceded August 24, 1954. The crisis began with the attempted assassination of journalist and politician Carlos Lacerda in August 5, 1954, at rua Toneleros, Rio de Janeiro, in which Major Vaz was assassinated instead. Investigations pointed to Gregório Fortunato, chief of Vargas' personal guard, as the orderer of the frustrated assassination. This incident was one of the most importants in the history of Brazil.
In 2012 German Bundespraesident Christian Wulff declares his resignation in the great hall of Bellevue Palace. At the side of his wife, he had to face the pressure of the media for 68 days while struggling for office of head of state of the Federal Republic of Germany.
Hamlet has the world at his feet. Young, wealthy and living a hedonistic life studying abroad. Then word reaches him that his father is dead. Returning home he finds his world is utterly changed, his certainties smashed and his home a foreign land. Struggling to understand his place in a new world order he faces a stark choice. Submit, or rage against the injustice of his new reality. Simon Godwin (The Two Gentlemen of Verona 2014) directs Paapa Essiedu as Hamlet in Shakespeare's searing tragedy. As relevant today as when it was written, Hamlet confronts each of us with the mirror of our own mortality in an imperfect world. Hamlet played in the Royal Shakespeare Theatre, Stratford-upon-Avon until throughout summer 2016.
Narcisus and Psyche is based on a novel by Sandor Weores which was adapted by Vilmos Csaplar and director Gabor Body for a feature-length film. Borrowing the character of Psyche from mythology and placing her in Europe in the 19th century, the authors give her a "modern" life. She is an attractive young woman - and remains so throughout the film, in spite of one hardship after another. Psyche is libidinous, and her prurient interests shock her staid contemporaries.
Italy, early '90s. Calm, clever and inscrutable, politician Giulio Andreotti has been synonymous with power for decades. He has survived everything: electoral battles, terrorist massacres, loss of friends, slanderous accusations; but now certain repentant mobsters implicate him in the crimes of Cosa Nostra.
A man obsessed with conspiracy theories becomes a target after one of his theories turns out to be true. Unfortunately, in order to save himself, he has to figure out which theory it is.
National Theatre Live’s 2010 broadcast of Alan Bennett’s acclaimed play The Habit of Art, with Richard Griffiths, Alex Jennings and Frances de la Tour, returns to cinemas as part of the National Theatre's 50th anniversary celebrations. Benjamin Britten, sailing uncomfortably close to the wind with his new opera, Death in Venice, seeks advice from his former collaborator and friend, W H Auden. During this imagined meeting, their first for twenty-five years, they are observed and interrupted by, amongst others, their future biographer and a young man from the local bus station. Alan Bennett’s play is as much about the theatre as it is about poetry or music. It looks at the unsettling desires of two difficult men, and at the ethics of biography. It reflects on growing old, on creativity and inspiration, and on persisting when all passion’s spent: ultimately, on the habit of art.
In 1838, Francois-Xavier Bouchard (Francis Reddy) fights beside his Quebec countrymen and the English minority.
The life, adventures and exploits of warlord Date Masamune the One-eyed Dragon: his early youth as an aggressive warrior, the battles he won until subduing almost all his enemies, the lonely comprehension of knowing that he actually can not take over the whole country because he was born too late.
