Ophelia

Oh dear. Oh no. Ophelia. A curious, if ambitious, central conceit is here battered into inconsequentiality by a scattershot screenplay that flees so far from the original Shakespeare that it leaves little purpose, or relevant material, in the retelling.

An interesting, well played and well made attempt to reframe Shakespeare's most famous play through a feminist lens, Ophelia ultimately doesn't have the boldness to deliver on its resonant idea.

A confused melodrama more fitting for a retelling of Twilight in the woods than of the greatest play ever written.

Richly coloured and interestingly flawed, director Claire McCarthy's melodrama is an increasingly bonkers watch, anchored by [Daisy] Ridley's magnetic turn as the passionately conflicted Ophelia.

A middling romantic drama about female empowerment with gorgeous visuals and a strong performance from Ridley, but is often lost among the reeds in terms of pacing and narrative cohesion.

This visually handsome film, though it will probably annoy Shakespeare purists, proves to be a diverting entertainment.

Not everything in the film works, but Daisy Ridley is terrific, sets and costumes are beautiful, plus just the idea of the mysterious Ophelia telling her own version is irresistible.

...this overtly serious enterprise seems to be pandering to the Twilight generation with slow-motion sword fights while purloining bits from Macbeth...

This film argues women being relegated to secondary character, both in life and in film, is also no longer enough.

I'd like to hop in a time machine, travel back to meet the playwright, and sit him down and show him this, if only to give him a clue about how he wronged her.