Stars: Amy Poehler, Melonie Diaz, Elisabeth Shue, Catherine Keener, David Arquette, Steve Coogan

Director: Andrew Fleming

Summary: Much like the inspired protagonists of his two favourite movies, DEAD POETS SOCIETY and MR. HOLLAND'S OPUS, high school drama teacher Dana Marschz (Steve Coogan) is going to save the arts. Marschz's first obstacle: Shakespeare killed off all the major characters when he wrote Hamlet, which puts a damper on his plans for a musical sequel. Luckily, Marschz has an ingenious literary device to circumvent that last doozy: a time machine built in woodshop that will catapult Hamlet and his new pal, Jesus Christ, into the present day and back again just in time to save Gertrude, Laertes, and the gang. This brilliant piece of theatre is born in the mind of Marschz upon the announcement of the drama club's impending cancellation, prompting the failed actor to take the advice of a ruthless freshman drama critic and finally write something that isn't an adaptation of ERIN BROCKOVICH. But when authorities try to have the production banned because of its offensive material, it's going to take the inspiration of actress-turned-local-nurse Elisabeth Shue (playing herself), the will of Marschz's young students, and the wiles of a feisty lawyer (Amy Poehler) to get Hamlet 2 in front of an audience.

Much like the inspired protagonists of his two favourite movies, DEAD POETS SOCIETY and MR. HOLLAND'S OPUS, high school drama teacher Dana Marschz (Steve Coogan) is going to save the arts. Marschz's first obstacle: Shakespeare killed off all the major characters when he wrote Hamlet, which puts a damper on his plans for a musical sequel. Luckily, Marschz has an ingenious literary device to circumvent that last doozy: a time machine built in woodshop that will catapult Hamlet and his new pal, Jesus Christ, into the present day and back again just in time to save Gertrude, Laertes, and the gang. This brilliant piece of theatre is born in the mind of Marschz upon the announcement of the drama club's impending cancellation, prompting the failed actor to take the advice of a ruthless freshman drama critic and finally write something that isn't an adaptation of ERIN BROCKOVICH. But when authorities try to have the production banned because of its offensive material, it's going to take the inspiration of actress-turned-local-nurse Elisabeth Shue (playing herself), the will of Marschz's young students, and the wiles of a feisty lawyer (Amy Poehler) to get Hamlet 2 in front of an audience.


HAMLET 2, the movie, is singular in its melding of grotesque theatre spoofing, schadenfreude, and complete subversion of the underdog-defiance genre's familiar trajectory. Rarely has a film hit conventional plot points only to take the wind out of their sails so effectively while nevertheless moving toward a destination not entirely unlike where its mainstream counterparts would go anyway. HAMLET 2's subdued lack of traditional filmic values and glaring music cues, as well as its performances, which manage to fold earnestness and deadpan into one another, amount to a movie that simultaneously deconstructs, skewers, and affirms. Like any good satire, it is what it's lampooning.

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It's the greatest work of literature, but nobody had ever filmed Hamlet uncut--until Kenneth Branagh went about the task for his lavish 1996 production. The result is a sumptuous, star-studded version that scores a palpable hit on its avowed goal: to make the text as clear and urgent as possible. Branagh himself plays the melancholy son of the Danish court, caught in a famous muddle about whether to seek revenge against his royal father's presumed slayer... the man who now sits on the throne and shares the bed of Hamlet's mother. (Or, as the song "That's Entertainment" summarizes the plot: "A ghost and a prince meet / And everyone winds up mincemeat.") As a director, Branagh (who shot the movie in 70 mm.) uses the vast, cold interiors of a vaguely 19th-century manor to gorgeous effect; the story might scurry down this hallway, into that back chamber, or sprawl out into the enormous main room. With its endless collection of mirrors, the place is as big and empty as Citizen Kane's Xanadu.

That all works. What doesn't work is Branagh's tendency to over-direct the big dramatic moments. He indulges in quick cutting and flashbacks as though to fend off the audience's objections to the four-hour running time, and the style sometimes looks like wasted energy. The experienced Shakespearians in the cast come off nicely. Derek Jacobi's Claudius, Richard Briers' Polonius, and Michael Maloney's Laertes are just terrific. Julie Christie is a suitably attractive Gertrude, and Kate Winslet makes the most of Ophelia's mad scenes. Branagh's habit of folding in unexpected American performers is on the mark, too: Billy Crystal is surprisingly good as the Gravedigger, Robin Williams predictably camps up Osric, and Charlton Heston is an inspired choice as the grandiloquent Player King. The biggest irony here is that Branagh himself is not quite spot-on as Hamlet. Of course he speaks the lines beautifully, but Branagh's screen personality radiates certainty and clarity of vision. There's little of the doubt that might make him Hamlet-esque. Still, tremendous credit for fending off slings and arrows to get the movie made. --Robert Horton

Aspect Ratio:	16:9 Anamorphic Wide Screen
Main Language:	English
Region:	Region 2
Year:	2008
Release Date:	September 7, 2009
Runtime:	89 minutes
Certification:
Catalogue Number:	M P 878 D
Keywords:	English, Comedy, General, Hamlet
Genre:	Comedy