Purely Joyful Movie!

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

This is a must-see and one of the best documentaries - and films - of this year.

One of those movie experiences that is so good it makes you realize you've been grading everything else on a curve.

If you can't stand the idea of a Shakespeare play being staged outside of it's historical context, then perhaps this is the exception that proves the rule. It's mostly down to the sets, and presumably the lack of acquaintance for most audiences anywhere with the country in which it is supposed to take place, in the time it is supposed to take place, but mostly just the very beautiful sets, which place it in a strange, elegant landscape of the internal workings of the characters, but it's not abstract, it's not in limbo, and it works very, very well. Though I suppose the nature of the play helps just a little bit.It isn't without any historical specificity at all, it seems to have a World War One feel to it, as a point of reference. David Tennant is very watchable. Occasionally it becomes a little too modern, some of the CCTV shots are annoying (though the idea is is used very nicely on the whole), and the business with the home-movie camera is a little jarring. The interpretation of the dialogue and content is excellent; nothing in any way pretentious or forced about it.Surprising, riveting, very enjoyable, proper full on Shakespeare.

The first thing I have to say is that the actors were very clear; not a line was lost. I didn't have any difficulty following the story and understanding the characters. That said I have quite a few critical issues with this particular production:David Tennant's Hamlet was a distraction and a nuisance. In a way, it felt like I was watching Jim Carrey in Ace Ventura. He was incredibly goofy and silly throughout, painting a portrait of Hamlet that more or less resembled a cartoon than a human being. He was very literal in his interpretation of madness… to the extent of going cross-eyed and twirling his finger in circles by his temple with a whistle. In a way, it felt as though all the other actors did plenty of work in developing their characters, and while I have no way of proving such a claim, I felt Tennant simply waltzed into the theatre memorized and disconnected.This particular production was not in front of an audience. It was specially constructed for the camera and the actors did not need to project as they would in a theatre space. However consistency was lacking. At times the actors adjusted appropriately for the intimacy of the camera, while at others they were too extravagant to fit the parameters of the screen (namely, Tennant, along with the actors playing Horatio and Marcellus). The actors playing Rosencrantz and Guildenstern were far too coarse with their comedy (I blame the director for this), accompanied by silly music to tell the audience this is supposed to be funny; their scenes came off boring more than anything, and foreign to the play's established style. In a positive critical assessment, I must applaud Patrick Stuart who marvelously brought to life both Claudius and the dead King Hamlet. His presence always filled the room. He wore the crown of royalty as one should… as a regal as a god with the unwelcome humility of a man. His scenes were a breath of fresh air, and served as a healthy balance to counter Hamlet's loopy madness. Additionally, John Woodvine's Player/King, with his deep resonant voice, captivated me along with the characters as he told the tale of Pyrrhus. That too helped bring the play back to earth in an emotionally grounding way. I held my breath for the Woodvine's every word. No tricks or cuts were needed; he was enough to fill every viewer's living room.RSC's Hamlet was really driven and ultimately succeeded because of the powerhouse performances of its two female leads. Penny Downie's Gertrude was spectacular. She was brimming with an unbridled carnal lust intermixed with the nervous guilt that climaxes full force in the bedroom scene with Hamlet. Where one expects Gertrude to weep, she laughs and does so with so much anguish your stomach churns for her. But if anyone's performance could be called truly haunting, it is Mariah Gale's Ophelia. At the top she seems sweet enough; virginal, hopeful and poetic in absorbing the banter of those closest to her. Even as the players play she was complete and commendable for being so after Hamlet's "get thee to a nunnery" nonsense. This is a stark contrast from the Ophelia we encounter after Polonius's death. Her singing and garbled gibberish, intercepted by outbursts of a petrifying scream, was frightening. The messy hair, dark eye shadow, and bloody scratches on her arms helped drive the point, but her performance was enough. Her madness in this production may have been an intentional tool to contrast Hamlet's "appearance of madness" and a mind truly shattered. Her two scenes after Polonius's death, prior to her suicide, were enough to enrich the entire play and atone for it's less than praiseworthy elements.Set in present-day, I would have appreciated more consistency as the atmosphere seemed to jump back and forth from archaic to contemporary. I had expected a polished diamond of a play, being produced by RSC, and what I experienced was a pretty stone caked in crud. Tennant was my biggest problem and to enjoy the play I had to ignore the title character. With that accomplished, the production was top notch and the ensemble was spectacular. It's a shame they didn't showcase a versatile undiscovered talent for the main character instead of casting a commercially recognized name. The play would have been richer for it.

Being an American rather new to Shakespeare, I have come to discover that Hamlet is my favorite play, and as of today the David Tennant and Patrick Stewart version provides the breakthrough to understanding this complicated play. I have watched all versions of Hamlet available and was quick to check out the newest one; however, Patrick Stewart was the only familiar actor to me. I have not a clue who Dr. Who might be. Just as well, as that might have tainted my view of Mr. Tennant's acting. Most contemporary productions of Shakespeare border on silly (Leonardo D's version of Romeo and Juliet) to ridiculous (Ethan Hawke's Hamlet), but this version rocks, to use an overused phrase.I thought the juxtaposition of Shakespeare Old English in a Modern Setting worked amazingly well. The talents of the cast came together superbly (wished for a different Ophelia though). Polonius reminded me of a more dignified version of Bill Murray's treatment, but still caught the pompous drift of the character. Horatio played the devoted and loyal friend to great satisfaction. His Roman to the death speech had me crying all three times I watched the dramatization. I thought Tennant's version of Hamlet contained a measured lunacy, the intelligent fool who had mostly everyone fooled. The To Be soliloquy had the right intensity and then in a moment Tennant switches to Guarded Lover with Ophelia and Knave of Fools to Polonius.I'm up for another view after writing this. Three hours spin by as I absorb new nuances and understanding. What a marvelous way to spend the afternoon.

I lived in the UK during the production of this Hamlet, but, alas, tickets were sold out. When I found it was filmed, I was ecstatic. A long time fan of Patrick Stewart and David Tennant, I had high hopes. However, I was blown away by this film. Those who have complained about Tennant's acting skills are treating him as the Doctor starring in Hamlet. Tennant's portrayal is one of my favorites. Here is the Hamlet I've read, a young man with a terrible knowledge searching for answers and guidance. His "To be or not to be" was chilling. Patrick Stewart as Claudius is soft-spoken and deadly. He gave me shivers. Here is a man who looks like your uncle (to use one reviewers words), but would kill you in a moment. If I had one complaint, the actress portraying Ophelia was an obvious let-down. I'm not a big fan of Ophelia and this actress seemed to be struggling with the character. Her "mad" scene was painful to watch. So, I had to give this 9 stars. Excellent production. Great set, acting, and atmosphere. I loved it.