Midsummer

part of this movie previewed at the taos film festival in april. a lot of it was over my head and very strange, but visually impressive. even though i don't know shakespeare it spoke to me, and it didn't seem like shakespeare at all. then again my friend is really into shakespeare plays and loved it. the technomusic score and sound track with bands like the cure and depeche mode threw me at first but it turns out it works well with the material. thumbs up, although i also do wish i could have seen more, plus the print that screened at taos was very dark

This is probably the best version of Midsummer Nights Dream that I have ever been witness to. It is a bit shocking at first, with the setting so wonderfully early American, but within minutes into the story, the viewer is transported into a magical land, where every character is unique and strong.

Who would have thought that the sprite that found Puck would have been a tired and disgruntled drunken spirit? And Kevin Kline as Bottom the Weaver is deserving of an Oscar! Shakespeare himself would have been beaming with pride to have viewed this magnificent piece! If you want to laugh so hard that you hurt your ribs, rent this movie! I've watched it over and over and it just gets funnier every time!

Bravo to the cast and the Bard! Bravo!

Oft-disparaged indie producers Kit Carson and Cynthia Hargrave have bucked their reputations and created a gem of a film here--certainly their finest since 1996's "Bottle Rocket" [also shot in Texas]. An invitation-only preview in Dallas revealed a modern, 20-something, MTV approach to the bard that's refreshingly hip--and intellectual--in today's market of mindnumbingly histrionic Shakespeare pictures. The remarkably foxy Domenica Scorsese makes a thoroughly nuanced and downright sultry Hermia [Scorsese can convey more with her suggestive gaze than, say, Calista Flockhart can do with two hours of melodramatic speechifying], and the writers' choice to centre the film around her and Lysander--as opposed to Bottom, for example--is inspired. Too-good-looking-to-be-true soap opera star Travis Schuldt rounds out the cast as a sadistic Demetrius. Some of the more esoteric references to mysticism and Tarot may be lost on the casual viewer, but it is hard not to appreciate a Shakespeare film with a soundtrack that's got a great combination of techno/ and retro/alterna bands like this. Best moment: The interpretation of "love in idleness" as a designer drug! My only complaint--it needs to be longer. Looking forward to the release of the full feature.

Oft-disparaged indie producers Kit Carson and Cynthia Hargrave have bucked their reputations and created a gem of a film here--certainly their finest since 1996's "Bottle Rocket" [also shot in Texas]. An invitation-only preview in Dallas revealed a modern, 20-something, MTV approach to the bard that's refreshingly hip--and intellectual--in today's market of mindnumbingly histrionic Shakespeare pictures. The remarkably foxy Domenica Scorsese makes a thoroughly nuanced and downright sultry Hermia [Scorsese can convey more with her suggestive gaze than, say, Calista Flockhart can do with two hours of melodramatic speechifying], and the writers' choice to centre the film around her and Lysander--as opposed to Bottom, for example--is inspired. Too-good-looking-to-be-true soap opera star Travis Schuldt rounds out the cast as a sadistic Demetrius. Some of the more esoteric references to mysticism and Tarot may be lost on the casual viewer, but it is hard not to appreciate a Shakespeare film with a soundtrack that's got a great combination of techno/ and retro/alterna bands like this. Best moment: The interpretation of "love in idleness" as a designer drug! My only complaint--it needs to be longer. Looking forward to the release of the full feature.