Under Milk Wood

I wouldn't say I was into blockbusters. I would consider myself quite an arty and cultured movie watcher. However, I really could not see the point of this poetry-fuelled romp through a post-war Welsh village. If I had to compliment anything, it would be the cinematography. But that cannot make up for the fact that the film is borderline unwatchable and thoroughly tedious. Though it seems well crafted, and clearly a lot of work has gone into making the film look pretty, I felt that all that had been achieved was a gilding of the jerry-pot.

In the end, this film will prove of great value to scientists looking to explore the effects of narcolepsy and are short of subjects. I found it to be turgid, frustrating, unfathomable, pretentious and distinctly soporific.

The spirit of Richard Burton looms large over any rendering of Under Milk Wood: the actor's sonorous vowels, on display in what has hitherto been considered the definitive cinematic version from 1972, somehow seem to perfectly embody Dylan Thomas' effusive, garrulous poetry. It would be enough to put anyone off even having a go, but Rhys Ifans has stepped bravely up to the plate for this hyperactive, highly coloured adaptation directed by Kevin Allen. Under Milk Wood, famously, originated as a radio play that Thomas wrote for the BBC, and was first broadcast in 1954 after the poet's death. With its discursive verse style, it's a resolutely un-cinematic text, for all its evocative qualities: the addition of actual images, you would suppose, would be superfluous. Allen's version has stuck largely to illustration: Ifans speaks melodically over the top, with intricately structured scenes and tableaux doing the visual heavy lifting.

As with the 70s version, directed by Andrew Sinclair, room has to be found for Thomas' multitude of comedy characters – Organ Morgan, Dai Bread, Willy Nilly, and all the rest – though fortunately the new film avoids anything as idiotic as Elizabeth Taylor's participation in the earlier film, playing passed-away good-time girl Rosie Probert. The nearest Allen gets to that is the celebrity casting of Charlotte Church as the alive-and-well good-time-girl Polly Garter; but Church is in fact pretty good in the role, a wholesome apple-cheeked type who gets up to all sorts in the woods. Allen's film comes across as a kind of fast-moving fever-dream – appropriately enough, given the swelling tide of fantasy that Thomas instills in the drama: everyone, and everything, is operating through a sweaty film of lust or delusion. Allen also amps up what you might call the bawdiness quotient: from the orgasmic yelps in the background of the opening dream sequence, to the continual incidents of jiggling and writhing, there's an entertaining Carry-On-ish edge to things that forestalls any hint of pomposity. With its energy and attack this is an Under Milk Wood that is funny and entertaining, and never gets bogged down.

THE GUARDIAN **** With its energy and attack this is an Under Milk Wood that is funny and entertaining. Rhys Ifans has stepped bravely up to the plate for this hyperactive adaptation directed by Kevin Allen. A highly coloured fever dream.

THE TIMES ****

Part Carry On film, part surreal fantasy. How rarely does the cinema reverberate with meaty poetry like this ? As a fresh interpretation, Allen's comic effort stands alone.

THE INDEPENDENT ****

Allen successfully brings out the perversity, ghoulishness, eroticism, and surrealistic side of Thomas' masterpiece. It has a beguiling dreamlike quality.

MARK KERMODE UNCUT - BBC RADIO

I like it very much. It's lusty, romping, bawdy, fleshy and incredibly engaging… a fabulous visualisation. I think it's a film, and I don't say this lightly, that shares something of the spirit of the great Ken Russell.

Cannot recommend highly enough. A must-see. Such a gorgeous film – breathtaking and beautiful in every way and as moving as anything I have seen of late. Rich, sensual, dark, witty, charming, poignant and utterly mesmerising. Stunning cinematography, an exquisite score and the most captivating performances from Rhys Ifans, Charlotte Church and the rest of the cast. The production team have done such a beautiful job of portraying the text so truthfully and authentically whilst daring to be true to their bold and brilliant creative vision. I wish more filmmakers had the courage to do this. Because the result of not compromising is ending up with a piece of art that is as close to perfection as you can get - it gave me goosebumps and chills and I cannot WAIT to see it again.