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Just finished The King, a modern interpretation of parts of Shakespeare's Henry IV and Henry V, seemingly targeted at millennials. It's common knowledge that much of Shakespeare's Henry V is based on hearsay, yet his pre-battle speeches at Barfleur ('Once more unto the breach, dear friends, once more.') and Agincourt ('We band of brothers') have become the stuff of legend and remain the most stirring battle speeches of our time. In The King, Henry's pre-battle speech at Agincourt is neither stirring or inspirational due to being a watered-down, 21st-century, politically correct rendition, which I found hard to stomach. The King portrays Henry (Hal) as a pacifist and reluctant leader, a fop to Catherine of Valois and I found Timothee Chalomet's (an American) performance as Hal to be too 21st century and not in the slightest bit convincing. In fact, he seemed reluctant to carry out any of the deeds that the real Henry V actually carried out. The battle scenes were very realistic and the cinematography was superb, but... This is yet another nod to the PC millennials, diluting and revising both Shakespeare and history into easily digestible snack bites for the sensitive of our era.
It’s a fine half-adaptation, but suffers from the compromise it makes. On the one hand, it is not simply another adaptation of Shakespeare - it has the advantages of taking a fresh look at the material, but for whatever reason still somehow carried across much of the fictional elements of Shakespeare’s plays. At the same time, whilst the writing is good, it lacks the poetry of a more straight adaptation (e.g. the Hollow Crown). I do find the performances to be compelling, and in particular, find it interesting to see Henry V as a contemplative humanist rather than a victorious warlord. It’s an interesting idea (if perhaps ahistoric) and does perhaps act as a medication on more modern conflicts. In particular, the film diverges significantly from Shakespeare’s plot significantly towards the end. It seems to try to this to change to modify the original 16th century propaganda of the play to a discussion of Realpolitik. This is a good idea in principle, but is somewhat undercut from having just watched an hour glorifying Henry. It is also technically impressive - both the art and cinematography departments have outdone themselves - standards we have perhaps come to expect from Netflix productions. On the whole, I admire the attempt to give a fresh take on the source material, but would rather they took inspiration from the history, rather than from a play written centuries after.
A Victorian surgeon rescues a heavily disfigured man being mistreated by his "owner" as a side-show freak. Behind his monstrous façade, there is revealed a person of great intelligence and sensitivity. Based on the true story of Joseph Merrick (called John Merrick in the film), a severely deformed man in 19th century London.
After proving himself on the field of battle in the French and Indian War, Benjamin Martin wants nothing more to do with such things, preferring the simple life of a farmer. But when his son Gabriel enlists in the army to defend their new nation, America, against the British, Benjamin reluctantly returns to his old life to protect his son.
In 1965, passionate musician Glenn Holland takes a day job as a high school music teacher, convinced it's just a small obstacle on the road to his true calling: writing a historic opus. As the decades roll by with the composition unwritten but generations of students inspired through his teaching, Holland must redefine his life's purpose.
The story begins at the height of Gleason's career. He has it all: women, wealth, and extraordinary power. But he is haunted by memories of his childhood. Gleason spends his formative years entering amateur contests, performing in sleazy night spots. Along the way, he steals gags from the best comics in town and finds love with Genevieve, a dancer whom he marries. But Gleason isn't the ideal husband or even a responsible father as he abandons his family to answer the call of Hollywood. Brash, arrogant, and egotistical, he alienates his directors and the man who discovers him. When he ends up back in New York, Gleason gets one of those rare second chances in the new medium of television, creating some of its most unforgettable characters. But even as Gleason becomes the talk of the tube, his life - ruled by demons of rage, booze, and insecurity - unravels.
It's July 1976, and two Nova Scotian teens, Kit and Alice, are hitting the road with their sights on Sydney and their minds on the future. With them is Kit's new imaginary friend, who looks conspicuously like Andy Warhol, but who assures Kit that he is a spirit animal. Kit and Alice have big dreams, but do they really want the same things?
As Rockit grapples to understand why his Mum’s not coming home, he embarks on a magical holiday with his father, Bosch, only to discover they’re actually running from the law. Rockit finds a soulmate and then teenage love with Ash Ash, but it’s the ocean that gives him the security and calm he yearns from his parents. Ultimately Rockit is a boy nurtured and held by nature.
The tale of an activist’s journey during the turbulent years of Martial Law, until his capture in the mountains and the dark, nine years of imprisonment that followed, leading to his birth as a poet.
A teenage girl living in Baltimore in the early 1960s dreams of appearing on a popular TV dance show.
Based on the journal entries of Rachel Joy Scott, the first student killed in the Columbine High School shooting in 1999. She was the first person Harris and Klebold saw in their desire to kill as many people as possible, not because she was religious, as this movie will have you believe.