Blistering performances.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

In 1896, the great Russian story teller, Anton Chekov, couldn't have foreseen his plays being produced through moving pictures over a century later. This classy film adaptation of The Seagull shows that not only does the master translate to the screen well, but also his works are enhanced by a roving lens that carries nuance better that any Victorian stentorian could have hoped. Relatively-new film director Michael Mayer lyrically highlights with close-ups, quick cuts, and manipulated time the agony of unrequited love in a household where count can be lost of who loves whom, who doesn't love back. The most prominent mismatch is between aspiring and rich young actress Nina (Saoirse Ronan) and aspiring, idealistic young writer Konstantin (Billy Howell). Their innocence is compromised by an adult world, for instance, by the acclaimed writer Trigorin (Corey Stoll), who steals her from Konstantin, who is jealous but remains doggedly devoted to her. (Ronan and Howell do their anguished young lovers bit even better in On Chesil Beach.)And on and on as the web of lies and loss ensnares them all. Yet, an air of civility covers the entire proceedings, hallmarked by Konstantin's vain, acclaimed actress mother, Irina (Annette Bening), herself in a relationship with Trigorin. Irina stands best for Chekov's theme of the clash between classical theater and modernist imagination, exemplified by her son Konstantin's work, redolent of symbol and allegory and, oh, so self important. His outdoor play with a makeshift curtain evokes The Fantasticks with a little Midsummer Night's Dream but hardly the genius of either.Because Irina is not impressed with Konstantin's creativity, her young writer son is filled with despair. Everyone else seems to be able to go on, albeit with cascading tears and gloomy resignation. Although this drama may be dark, and Chekov is not known, after all, for his hilarity, witnessing it is a pleasant theatrical experience because we are all so darn fascinating when we become fools for love. Beyond that, the acting is some of the best you will see in cinema all year-even if it is grounded in 19th_ century Russian theater. Chekov lives on.

Old school techniques in lighting and the use of close-ups were the perfect complement to the stunning setting where the film was shot. The ensemble is perfectly cast; the women shine in this film but the male roles were also expertly played by the surprising Corey Stoll and Billy Howle. My only critique is that the end does feel a bit rushed...it moves toward its inevitable conclusion, but in a way that could have been fleshed out a bit more. Excellent adaptation overall.

I have never seen the play performed, so I am not referencing any stage versions, though I have seen a ballet version. This version is gorgeously shot, both of the outdoors scenery, and the claustrophobic indoor scenes. Set in the early 1900s, this collection of bored, landed gentry and self-important artists deserve a revolution to sweep them away.Somewhat central is the mother Irina, who loves herself about all. The story belongs to her son Konstantin and his girlfriend Nina (Saoirse Ronan, who really chews up the scenery). They are in love, but Nina then falls in love with Irina's lover, and things fall apart. Meanwhile, there is a whole chain of characters with unrequited love, each focused on someone who bats them away, just as they bat away someone who is in love with them.The exposition of the story is good, except for one glaring point. There is a jarring and confusing insertion of the start of Act 4 at the beginning of the film. This seems to be a blatant attempt to give Annette Bening top billing, since the credits were "in order of appearance".

SPOILER: The Seagull. Heart wrenching, hilarious, appalling, and the only one who gets out alive is the seagull, shot early on. So much ambition, so little success. From the estate staff, cooks, & caretaker to renowned stage and literary stars, breathtaking in life's limitations.