Romeo and Juliet (1968)
Directed by Franco Zeffirelli
Romeo Montague and Juliet Capulet fall in love against the wishes of their feuding families. Driven by their passion, the young lovers defy their destiny and elope, only to suffer the ultimate tragedy.
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What critics compared Romeo and Juliet to
First-time director Len Wiseman almost gets there, too, using "Romeo and Juliet" as a template and fusing medieval mythologies to video game sensibilities.
The press materials purport a “Romeo and Juliet” level of emotional depth to the piece, but that’s not translated to the screen.
Logic doesn't figure prominently in the latest entry into the horror-fantasy amalgam — a kind of monster-mash "Romeo and Juliet" featuring vampires and werewolves — which works to the good and bad of the story.
Passing itself off as a supernatural version of Romeo and Juliet, it benefits from pulpy energy and a nice sense of style, but its weak plotting and terminal poker face keep tripping it up.
With a plot that can be viewed as either a metaphor for race relations or a direct lift from Romeo and Juliet (or both, for that matter), Underworld is a hoary, wannabe epic that nonetheless springs to icily gorgeous life every time Beckinsale enters the frame.
(Nobody's complaining about that!) It's trying to be "The Matrix" and "The Lord of the Rings" and Anne Rice's Vampire Chronicles and "Romeo and Juliet" all at the same time, and it isn't 10 percent of any of those things.
Gyllenhaal the writer sees Frankenstein as a Romeo and Juliet story…
Love story: Can you get audiences to root for the monster couple (like Romeo and Juliet) or be awed by their depravity (like Sid and Nancy).
…historias de amor épicas y trágicas que van desde Romeo y Julieta hasta Bonnie & Clyde…
There are expressions of love and lust, though Romeo and Juliet, they are not.
…reciting ‘Romeo & Juliet’ in reference to Frank and Penny…
The parallels that can be drawn to "Romeo and Juliet" are more in evidence this time around.
Sadly, much of what I enjoyed about the first movie seems missing in the overly depressing follow-up film, which comes across like Romeo and Juliet on extra downers.
Scenes where Bella and Edward sit through a class covering Romeo and Juliet act like a subtle wink to adults in the audience: Yes we know this is a bit overly dramatic and self-important, but, as even Shakespeare recognized, so are teenagers.
Enjoying all of New Moon 's 130-minute running time (as I did, well enough) takes the ability to swoon and snort simultaneously—say, when a fantasy Bella runs through the woods in gray chiffon, or Edward recites the closing lines of Romeo and Juliet by heart.
(I'm not sure why, but good for her.) Lucinda was based on a real journo, and there's an obvious homage to Zeffirelli's "Romeo and Juliet," although I'm also not sure why.
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While a last-act regurgitation of "Romeo and Juliet" produces a flavorless ending, Lawrence is the living promise that the next course of "The Hunger Games" will give us more to chew on.
He might have added The Truman Show (for the TV cameras hidden throughout the forest environment to catch every pursuit and fatality), Oliver Twist (for the children forced by adults into criminal behavior), Romeo and Juliet (for the poison that two lovers plan to take) and, centrally, Richard Connell’s 1924 story “The Most Dangerous Game,” whose scenario of a mad Cossack trapping humans on his Caribbean island and hunting them down like big game has inspired a couple dozen Hollywood films.
The concept of doomed love is as old as "Romeo and Juliet," by William Shakespeare, who is also responsible for the film's title.
The Book of Life is not-so-slyly derivative in its romantic themes: a little Romeo and Juliet here, Ghost there and The Princess Bride throughout, with "real" world interruptions by a museum tour guide (Christina Applegate) to increasingly involved children.
The pop culture references fly fast and furious, with Gulliver feeding Horatio lines from Prince's "Kiss" in a Romeo and Juliet inspired romance scene, a replica of Times Square erected in Gulliver's honor, and the bad guys cook up a giant robot that's supposed to be their answer to Gulliver's might as a warrior, but really just recreates the dull metal-on-metal fight scenes from Iron Man 2 (that one might not have been intentional).
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Ever since Shakespeare's Romeo and Juliet it's been somewhat of a maxim that mismatched couples are eventually doomed, romantically if not otherwise.
Robinson knows the life of an actor (and the disconcerting advances of an older man, having been pursued by Franco Zeffirelli on the set of Romeo and Juliet); one of the funniest elements of Withnail & I is that it concerns three varieties of drama queen: the flamboyantly dark-minded Withnail; neurotic, ill-equipped Marwood, and the larger-than-life Monty.