Ophelia

Daisy Ridley is the best person I have ever seen. Her action is amazing and her action makes me hyped! I cried so hard at the end of the film. It’s really emotional and great film! Love this film so much!! Thank you so much for making this film!!

A bold and fresh take on the outdated and already overglorified Hamlet tale. It's essentially the same except some the characters (Hamlet, Ophelia, Laertes, and Horatio) are a lot younger than how they're usually portrayed and that this story is now centered around Hamlet's love interest and is told from her perspective instead of Hamlet himself who WAS always the title protagonist of this old tale. The cast is wonderful and give fairly good performances, especially Daisy Ridley who is a gifted young adult actress. But the film's execution is dry and the story is confusing (well, to be honest, I always found Hamlet confusing). The tone is confused and doesn't seem to decide whether it is a melodrama or a romantic drama. This film was honestly boring and had me fall asleep on some parts. It doesn't really add much to the Hamlet story as it seemingly tried to aim for. It was mostly depressing filler. I'd say this is worth watching at least once, but not worth buying.

Too ambitious to ignore, but too fabricated to remember, Ophelia is not exactly a super hot mess of a film, but the proper foundation is already in their hands, and they wasted it on a mediocre execution on this fresh feministic take of a well-regarded story about love and betrayal. Daisy Ridley and Naomi Watts remain consistently strong in this another "one-of-those-missed-opportunity" movies.

An interesting different perspective for Hamlet that unfortunately only stays in that; interesting because it never seems to be 100% sure what way to take with the narrative and how to take it in a good way that's surprising considering the material lent itself to something more proactive and convincing and not so passive No doubt a film with a feminist perspective and that's not a bad thing for all those who are offended by that word but this film stays in the same line of recent films like: Effie Gray, Madame Bovary, Mary Shelley and Mary Queen of Scots, which are stories featuring interesting and solid female characters to whom writers and directors find it difficult to do them justice. At least Daisy Ridley shows she has the guns to continue with her career after Star Wars.

Maybe, maybe a smart move, but don't forget that the "maybe" is in capitals. Ophelia McCarthy is not around, let's say, the best circle. Which also isn't an excuse for the director Claire McCarthy to print something so sloppy as this version. The version has the source William Shakespeare, the endless mine that everyone digs gleefully. How rich has his world to be, that a fortune is spent every time in every good or bad possible way and yet not a dime rusts by. The literature belittles the feature more, since it comes with a guarantee card of working for nine out of ten times. And oh! to walk over that one line. The film takes part as much as the titled character does in this tale. For the most part of it, it is fabricated as a point of view of a spectator and so there is another wall between us and the real drama including the screen. And then when it takes part, the narrative shifts from third person storytelling to first person. Now, the makers ask us to be moved or touched by the gesture or actions that merits only in that very frame but wishes to carry the weight of all the characters and all their tracks and all the elements gifted to us, by then. It is bound to break its backbone, as the sheer pressure extracts the malleability from the posture, and as a result you won't be able to stand this debacle. In fact, I would blame the performance too. Yes, Naomi Watts has to cloak in for a blaming game, but the fingers are pointed to no one and the real tears, dry. Clive Owen feels like a tourist and cries to rule the home, while Ophelia played by Daisy Ridley, the heart of the politics, remains more like meant-to-be the heart of the politics.