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Cymbeline
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Cymbeline
CRITICS OF "Cymbeline"
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The Film Stage
Resource

March 12, 2016

Almereyda is back at it fourteen years later with Cymbeline, a dramatically clunkier Shakespeare play, both in and of itself and for the challenges it presents to a modern adaptation.
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The Blu Spot
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May 17, 2015

Michael Almereyda's modernized adaptation of Cymbeline comes to the screen with a number of flaws, including an overstuffed plot and a questionable structure.
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Entertainment Weekly
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March 12, 2015

The film has moments of real wit and stylish brutality, but its nods to modernity (motorcycles, iPads, Google) just feel like self-conscious stunts.
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Examiner.com
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March 14, 2015

Almereyda never gives us a reason why this particular Shakespeare story is relevant for today, and thus worthy of being retold. Perhaps he watched too much Sons of Anarchy?
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Epoch Times
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May 20, 2016

Of course, Ed Harris as a leather-jacket-wearing biker monarch blasting away with an assault rifle gives Almereyda a solid base to work from.
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Cinemalogue.com
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May 01, 2015

... strips down the Bard's narrative and ramps up the sex and violence, which is fine, but as with other such projects, the anachronistic dialogue is awkward and the storytelling is muddled and convoluted.
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RogerEbert.com
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March 13, 2015

A conceptually weak and dramatically muddled mess that has acquired a game and good cast and then given them precious little to do.
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FILMINK (Australia)
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May 27, 2015

Cymbeline's familiar Elizabethan tropes do not translate well to a modern context, nor do the constant references to 'Caesar' or 'Romans.'
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New York Times
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March 12, 2015

"Cymbeline" has been branded a tragedy, a tragicomedy and a romance, and Mr. Almereyda embraces all three categories. The movie is by turns grim, grimly amusing and romantic, sometimes at once.
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Philadelphia Inquirer
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March 13, 2015

If too many filmmakers try to amp up the excitement in Shakespeare with movie magic, Almereyda goes to the opposite extreme in Cymbeline.
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New Yorker
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March 23, 2015

What we get-a bitty and begrimed romance-has a lyrical sway of its own, and, even if some of the cast seem lost in the lines, Hawke returns to save the day, and the movie.
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Los Angeles Times
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March 12, 2015

A mash-up of social media shortcomings and Shakespearean tragedy that becomes as much a tale of cinematic ambition gone awry as anything the Bard intended.
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