Am i the only one who thinks........Average?

Absolutely Fantastic

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Recently, I watched, and loved, the seven BBC adaptations of Shakespeare's plays about the Wars of the Roses. By contrast, this film of 'The Tempest' is poor fayre. Partly it's because of actors who seem ill-equipped for speaking Shakespearian lines: Russell Brand is the most obvious target, though the truth is that several cast members seems almost equally bad (Helen Mirren, though, and Alfred Mollina, are predictably good). Perhaps it's because of the film's arbitrary and inconsistent use of special effects and it's back-and-forwards transitioning between Tudor orthodoxy and a more modern staging: both approaches can work with Shakespeare, but this one just seems a mess. But maybe the bard too deserves some stick: there are some famous lines ("Oh brave new world, that has such people in it!") but the plot is pretty simple: Prospero (or, in this re-gendered version, Prospera) gets her revenge on her enemies through the deployment of supernatural devices: her hapless foes never stand a chance. Shakespeare's customary tendency to punch down with his humour is also on display: for all his literary brilliance, a lot of Shakespearian comedy takes the form of, in effect, chav jokes. Maybe there's something more in the script that got lost in adaptation. But this really isn't the bard at his best.

and those are pearls that were his eyes"........just to remind us that Mr W Shakespeare wrote some of the greatest words ever conceived by a human being,because mostly they are mangled by the cast of the latest version of "The Tempest" which has clearly been fashioned for the "Harry Potter" generation with just a touch of"Kevin and Perry" introduced into the character of Ariel and a soupcon of stand - up provided by the ineffably smug Mr R.Brand. There is little point in dwelling on the gimmicky re - imagining of Prospero as Prospera which might find some support in Camden and Highgate or places where The Sisterhood gather to stick pins in images of Jim Davidson but may be seen for what it is - a desperate effort to offer Shakespeare in a "modern" and "relevant" context,ignoring the fact that each audience will find both those qualities from their own interpretation. Predictably enough only Miss H.Mirren speaks the Bard's words with any assuredness. Other cast members seem to think overacting is the default mode when faced with a script that requires one to understand and interpret the lines rather than parrot them. There are not many reasons to be thankful for old age,but I am grateful that I saw Gielgud's Prospero at Drury Lane in 1957. That night,on a small stage in a smokey,over - heated London theatre,magic was in the air. When I think of "The Tempest" it is that I return to.

A few years after my original review, I have re-watched some of this film and have tried to be kinder. This is my amended version. I am sorry to still have to be so negative and I'm sure others have enjoyed it, but I can only say what I think. Whenever I write a review, I always think hard about how to start. But in this case, it is easy. This could have been fairly good, but sadly it is a truly dreadful film. The difference between a good film and a bad film can be a few small things and usually they are the things that destroy the magic. The Tempest of course is all about magic but the film destroys it. Totally. I'm sure the idea was saleable, particularly with the then celebrity Russell Brand in a lead role, but things must have started to go downhill from then on. There must have been times when they wanted to cut their losses and abandon it, but they pressed on hoping the SPFX would rescue it - instead it just made it worse. Julie Traymor's direction leaves a lot to be desired - she seems to be constantly struggling to hold things together. The use of a female lead is baffling although the actor, Helen Mirren, who normally plays the Queen of England, does a good job and manages to hold the whole tottering mess in some sort of shape. Tom Conti, a fine actor, manages to get through the laughable screenplay with his dignity intact, as does Alan Cumming. Dijimon Hounsou however is the worst Caliban I have even seen, and I have seen quite a few - again a good concept that didn't work. Alfred Molina, again a fine if limited range actor manages to keep his head down and put in a passable performance. Russell Brand is unspeakably awful as Trinculo - an idiot over-acting if ever their was. Again, good concept but didn't work. Stuart Dryberg's cinematography is patchy. The early exterior shots are useful for a "how not to" at a film school truly some of the worst exterior lighting since Dad's Army. Look at the credits and you'll find a huge crew who managed under Taymore's direction to product a piece of rubbish - why didn't someone speak up for goodness sake? But perhaps they knew but with all that money at stake, just couldn't abandon things. A new director for sure, a lot of re-shoots, a new Trinculo perhaps could have rescued it. But perhaps not.I have worked on amateur productions of this fine play which have been infinitely superior to this awful film and I would not insult amateurs by describing this as amateur - it is nowhere near that quality.

The Tempest is a wonderful but complicated play, and while I can understand the reactions of those who disliked it, I thoroughly enjoyed this one who I saw for the treasure that is Helen Mirren. It is not perfect, there are times where the delivery was a little too garbled or fast and Russell Brand gives a performance so lacking in subtlety that he did seem out of place to me. However, Helen Mirren is as ever magnificent as Prospera, with a commanding presence, intense delivery and sense of character and an urging sense of bitterness. Felicity Jones is an excellent Miranda, David Strathairn's Alonso is magnetic and Dijimon Hounsou is a Caliban that is both terrifying and sympathetic. Alfred Molina and Chris Cooper prove themselves to be scene-stealers, Ben Whishaw is an effective Ariel who as a spirit looks wonderful and Alan Cumming plays it straight and is good at it no matter how strange it initially is. Julie Taymor's direction is compelling and creative, especially in the character relationships, you feel the spiritual connection between Ariel and Prospera, the sadness of Caliban and Prospera's sorrowful weariness at the end and the idea to have Caliban as Prospera's shadow self was convincing. The visuals are spectacular, right from the palaces, towers, columns and the scenery itself helped by well-above average effects and sweeping cinematography. The dialogue is as poetic and witty as ever, and while some may find the rock music jarring, while it is not my kind of music, it did give some energetic flavour to the songs. All in all, not a movie that everybody is going to like, but while not perfect I thoroughly enjoyed it. 8/10 Bethany Cox