For nearly 100 years experts in historical and literary fields have been debating the authenticity of William Shakespeare's master works. Was he really a storytelling genius who single-handedly crafted a vast body of poems and plays? Or were they actually the works of another unnamed author? Could a group of playwrights have written under a sole moniker? Director Roland Emmerich dives headfirst into this century-old debate with his new movie Anonymous piecing together evidence to unravel the mystery with dramatic flair. Unfortunately the only thing he discovers in the process is that the answers aren't that interesting.
The movie centers on Edward De Vere (Rhys Ifans) a scholarly gentleman forced as a youngster into the role of Earl of Oxford. While Edward prefers to spend his time waxing poetically and bringing theatrics to life for the adoring Queen Elizabeth (Joely Richardson) his caretaker the sinister mustache-twirling-without-a-mustache William Cecil (David Thewlis) authoritatively directs him on the path of the aristocracy. But that doesn't stop De Vere from toiling over his written work spending years crafting plays and poems in-between canoodling with the Queen (for shame!).
As a grown man De Vere finds himself married off to Cecil's daughter battling the tired advisor and his hunchback son (Edward Hogg) all while continuing to write and attend the common man's theater. During one such excursion the Earl crosses paths with playwright Ben Johnson (Sebastian Armesto) who De Vere sees as the perfect representative to take ownership over his plays hoping they can finally be brought to life on stage. Of course Johnson realizes slapping his name on De Vere's works of genius would put the kibosh on his own career so he hands them over to his horny drunk actor friend William t (Rafe Spall). The staged plays are a hit but their appeal to the masses is a red flag to the court. Cecil commences a hunt for the true author of Shakespeare's plays landing De Vere in hot water.
Emmerich intertwines De Vere Johnson and Shakespeare's quest for theatrical fame with political unrest and romantic subplots but none of the story arcs have the spark of a real mystery/thriller. The director and his screenwriter John Orloff (The Guardians of Ga'hoole) aim to replicate The Bard's tragic character-driven plays with their own story relying on performance and dense dialogue to entrance the viewer. But Emmerich goes so far out of his way to restrain himself from his usual eye for end-of-the-world destruction (made famous in Independence Day Godzilla The Day After Tomorrow 2012…) that the movie trudges along without an ounce of intrigue. It's almost as if Anonymous strives to be purposefully boring Emmerich attempting to deliver performance-first directing but ending up with string of flat sloth-paced back-and-forths. He does manage to squeeze a few action scenes into the mix—De Vere fends off an attacker in a thrilling confined swordfight—but even the bigger moments feel muted.
The creative duo's grounded tactics do occasionally payoff thanks to a solid cast led by powerhouse thespian Ifans. Anonymous luxuriates in Elizabethan history and royal affairs presented in a fashion only a few steps up from your run-of-the-mill high school text book but Ifans steps in and turns hammy exposition into lyrical dialogue. While he doesn't have the power to make it all register Ifans makes the experience of Anonymous worth seeing and hearing. One transcendent moment shows De Vere crumbling in front of his wife explaining his instinctual need to write. The monologue is powerful—but the surroundings created by Emmerich fail to support him.
The rest of the ensemble does their best to wrangle our attentions—the legendary Vanessa Redgrave as the older repressed Queen Elizabeth and Spall's lively arrogant Shakespeare are standouts—but the lingering question of "why does this matter?" continually stands in the film's way. The works of William Shakespeare are a foundation for the dramatic arts a staple of literary education and a testament to the power of written word. After 500 years his plays continue to be relevant embodying the full spectrum of human emotion. So it's understandable why Roland Emmerich would embark on an expansive blockbuster dissection behind the truth of these achievements. But Anonymous only manages to present plausible events never tackling the weight of those accusations dead on. Going head to head with The Bard should live up to the existing body of work. Anonymous on the other hand feels abridged.
A good deal of people have been asked the question, "If you were able to talk to one person from history, who would it be?" In response to this, an even better deal of people have answered, "Shakespeare." And the best deal of people of all are not, in fact, referring to this guy.
Well, you still can't talk to Shakespeare. But heres's the next best thing (give or take): a Liveblog with Anonymous director Roland Emmerich and writer/producer John Orloff and historian Charles Beauclerk!
Anonymous revisits one of the oldest conspiracies in history: did William Shakespeare actually write all, or any, of those plays and poems? People have suggested countless alternative theories, including the one proposed by Anonymous: Edward De Vere, Earl of Oxford (Rhys Ifans), wrote all of Shakespeare's works and attributed them to the would-be bard (Rafe Spall) because "in [the Earl's] world, people do not write plays." And also for the reasons of manipulating the public... and possibly covering up his incestuous love affair with the Queen. So, this guy clearly needed this.
To learn more about the film, and to weigh in on the age-old debate, check back here at 11:15 pm EST/8:15 pm PST for an hour-long Liveblog. Until then, enjoy the trailer below, and get your theories ready. Personally, I think Jack Ruby was in on it. Click the below picture to see more of the Anonymous gallery.
Well if the title doesn’t say it all…Picking up where Alien vs. Predator left off those pesky aliens cause the Predator ship to crash on Earth setting them free near a Colorado town. A lone Predator (Ian Whyte encoring from AvP) comes to Earth to clean up the mess and what the hell maybe pick up a few human trophies too. Needless to say the town’s human residents are completely unprepared for this sort of inter-galactic free-for-all on their streets. This is after all the sort of town where everybody knows everybody but no one seems to notice when a spaceship crashes in the woods outside of town or when the self-same spaceship blows up the next day. In short you could say that they get what’s coming to them--and they sure do. Pretty dreadful all around. Then again Shane Salerno’s script is pointless to begin with. Steven Pasquale (TV’s Rescue Me) plays the ex-con hero Dallas (a nod to the original Alien). Reiko Aylesworth (TV’s 24) plays a veteran of the Gulf War who returns stateside just in time to engage in another one--a pretty pale homage to Sigourney Weaver’s Ripley character. John Ortiz plays the local sheriff one of the dullest (and dumbest) screen lawmen in recent memory. Veteran Robert Joy drops in briefly as a weasely U.S. Army colonel who would just as soon nuke the town as try to save it. Every time this film focuses on the (one-dimensional) human characters it stops cold. Unfortunately this happens a lot. There’s no reason to root for them because you simply don’t care. True to form most of them are sliced diced chopped lasered exploded from within and otherwise treated in a shabby fashion. They are simply fodder. Just for the record this is the sixth Alien film and the fourth Predator film and it holds the dubious distinction of being the worst of any of them. The special effects are just dandy but not much else is. This also marks the inauspicious feature directorial debut of noted visual effects artists Colin and Greg Strause (billed as “The Brothers Strause”). They clearly have an affinity for this sort of thing--and for the Alien and Predator franchises--but are just as clearly content to simply let the special effects run away with the story. The first Alien vs. Predator movie was no great shakes but it was better than it had any right to be. This one is not. Responding to the fans who wanted this film to be R-rated the Brothers Strause have delivered on that--and absolutely nothing more. It’s a pointless exercise.
Nice guy Jerry (Matthew Lillard) is the same numbingly trite character we've seen in hundreds of other movies. He faces 30 with uncertainty. He doesn't know if he should propose to his beautiful girlfriend Denise (Bonnie Somerville). He just can't commit darn it! Oh life is so confusing! Meeting up with his best buds Tom "the rebel" (Dax Shepard) and Dan "the runt" (Seth Green) at the funeral of their dead friend Billy they reunite in the-what else?--tree house of their youth. There they discover a map of Billy's longtime obsession: The disappearance of hijacker D.B. Cooper with $200 000 cash. (Never mind that the real Cooper's flight took off in 1971 well before any of these characters would be born.) So these three friends set out on an expedition from the heart and learn a few valuable life lessons along the way. They embark on a canoe trip in the Pacific Northwest in search of Cooper's lost treasure with a very large bear and two even larger hillbillies in hot pursuit. Which is of course just a big excuse for some crazy hijinks in the woods the obligatory stoner sequence gorgeous but unshaven tree-huggers living atop a redwood a crazed mountain man the usual.
Lillard has an off-kilter charm that works in his supporting roles but not so much as the lead. One imagines the producers offering the role first to Adam Sandler and then to Vince Vaughn or Luke Wilson before finally settling on Lillard after they all refuse. His overbearing earnestness in the role recalls his work in SLC Punk straining for normalcy when something completely off-the-wall would work so much better. Shepard (from MTV's Punk'd) fares better he is amusingly annoying but at least he takes a side. Green is usually funnier than this but he doesn't usually have to lug an inhaler around with him as a prop or constantly stoop for laughs as the token scaredy cat. The three of them do have an easygoing chemistry that makes them good company. Burt Reynolds turns up with a foot-long beard as the mountain man who might know something about the treasure. It is certainly the most vanity free performance of Reynolds' career and while it doesn't amount to much it's a step in the right direction for a guy who could still be a great character actor if he could finally get over the fact that he is no longer Stroker Ace.
Steven Brill is best known as the director of the first Adam Sandler movie that didn't reach nine figures at the box office Little Nicky and he hasn't exactly advanced the art of screen comedy here. Nevertheless the pacing is brisk the timing is crisp and the repartee (credited to five writers) is snappy. Even the action comedy sequences mostly running away from the bear and the hillbillies are convincingly done. But make no mistake this is clearly the work of a man hell-bent on paying homage to The Goonies and for that miniscule target audience that not only saw The Goonies in the theater it can also differentiate the Coreys. Of course '80s music has been back in vogue for several years so it's inevitable that the '80s comedy embodied in this movie The Girl Next Door
Harold & Kumar Go to White Castle and others would return. But somebody had better make a good one soon or it will disappear faster than you can say Kajagoogoo.