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Published by: Trinity Theatre
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Release Year 2015 Directors Rob Ashford King Leontes of Bohemia (Sir Kenneth Branagh) suspects his wife, Hermione (Miranda Raison), and his friend, Polixenes (Hadley Fraser), of betraying him. When he forces Polixenes to flee for his life, Leontes sets in motion a chain of events that lead to death, a ferocious bear, an infant left in the snow, young love, and a statue coming to life Cast Tom Bateman, Miranda Raison 180 Minute They're very sweet. mostly benign. XD.

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WhatsOnStage has a first look at new clips from The Winter's Tale, ahead of the show's cinema screening. The production, which stars Branagh, Judi Dench, Miranda Raison, Jessie Buckley, Jaygann Ayeh, Tom Bateman and Hadley Fraser, will be screened for one night only in venues up and down the country on 4 December. Branagh's revival, co-directed by Rob Ashford, was initially broadcast in 2015, as part of the veteran theatre and film director's West End season at the Garrick Theatre. It received a full five-star write-up from WhatsOnStage, being described as "a generous, full-hearted, thoroughly enjoyable occasion. " On the night of the initial broadcast in November 2015, the film topped the UK cinema box office on night of transmission, grossing over $1. 6m beating The Hunger Games: Mockingjay – Part 2. Branagh Theatre Live: The Winter's Tale returns to cinemas for one night only 4 December 2019. Find your local cinema screening Loading...

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Due to phenomenal demand, The Winter’s Tale, Shakespeare's timeless tragicomedy of obsession and redemption, returns to cinemas this festive season. This beautifully reimagined production, co-directed by Rob Ashford and Kenneth Branagh, features a remarkable cast including Dame Judi Dench as Paulina, alongside Tom Bateman, Jessie Buckley, Hadley Fraser, Miranda Raison and Sir Kenneth Branagh as Leontes. King Leontes appears to have everything: power, wealth, a loving family and friends. But sexual jealousy sets in motion a chain of events with tragic consequences… This critically acclaimed production was the first in the hugely successful Kenneth Branagh Theatre Company Live season that was broadcast to cinemas from London’s Garrick Theatre over the course of a year in 2015. Please note: Meerkat Movies codes cannot be used for special events and screenings. This includes Stage on Screen titles such as National Theatre Live and encore broadcasts. Please see the Meerkat Movies terms and conditions for more details. Duration 3 hours 4 minutes.

9. 2 / 10 Votes: 133 ♦ ♥♥♥♥♥♥♥♥♥ ♦ ♦ DOWNLOAD ♦ ✻✻✻✻✻✻✻✻✻ Liked It 203 votes / User rating 8, 1 of 10 / Rob Ashford / Cast Tom Bateman / genre Drama / Year 2015. Like it even tho it's always about royalty and rulers. Why didn't Shakespeare do anything about the more common people. Due to phenomenal demand, The Winter's Tale, Shakespeare's timeless tragic omedy of obsession and redemption, returns to cinemas this festive season. This beautifully reimagined production, co-directed by Rob Ashford and Kenneth Branagh, features a remarkable cast including Dame Judi Dench as Paulina, alongside Tom Bateman, Jessie Buckley, Hadley Fraser, Miranda Raison and Sir Kenneth Branagh as Leontes. Certificate 12A Release 04/12/2019 Director Rob Ashford, Kenneth Branagh Cast Judi Dench, Kenneth Branagh. OMG! I want to be a principal dancer here... 0 votes and 0 Reviews Release Date: December 4, 2019 (limited) 3h 25m | Drama, Other Shakespeare's timeless tragicomedy of obsession and redemption stars Judi Dench as Paulina and Kenneth Branagh as Leontes. Director: Kenneth Branagh, Rob Ashford Studio: Cast: Judi Dench, Kenneth Branagh Writer(s): William Shakespeare. T he image of the West End suddenly brightens with the arrival of a six-play Kenneth Branagh season lasting a year. But, although Branagh stars in four of the productions and is involved in directing three of them, this feels like a company venture rather than an actor-manager ego-trip. At first, it looks as if we are in for a romantic reading of The Winter’s Tale, co-directed by Rob Ashford and Branagh. We are, in Christopher Oram’s design, at a Christmas court full of snowflakes, carols and cheerful festivity, where everyone sits down to watch a home movie of the king, Leontes, and his chum Polixenes in their romping boyhood. But there are strong hints that Branagh’s fine Leontes is driven less by insane jealousy over his wife’s possible adultery than by the loss of Polixenes’s love. Hadley Fraser’s Polixenes refers to women as “temptations”, while Branagh himself spits out words like “sluiced” and “slippery” as if disgusted by female sexuality and eagerly kisses his male courtiers. The implication is that this is a man still haunted by an idyllic boyhood attachment. That is only one of several intriguing touches in what superficially looks like an orthodox production. Judi Dench plays the truth-telling Paulina not as the usual angry scold but as a woman whose capacity for defiance masks a deep compassion for wayward humanity: the moment I shall long remember from this production is when Dench, having regretted her verbal rashness, gazes at Branagh’s shrunken, guilt-ridden Leontes with a silent sorrow. Fertility rite … Tom Bateman as Doricles/Florizel and Jessie Buckley as Perdita in The Winter’s Tale. Photograph: Johan Persson/Kenneth Branagh Theatre Company/Garrick Even the rustic scenes in Bohemia, translated over the years to everything from a hippie Haight-Ashbury to Glastonbury, are here played as a decidedly east European fertility rite where the male shepherds strip as they dance and where Jessie Buckley’s Perdita positively glows with erotic fervour. Although this production ends, unfashionably, in unequivocal forgiveness, it is not afraid to hint at the darker elements in Shakespeare’s fable. Branagh and Dench are surrounded by a first-rate team. Miranda Raison lends the wronged and persecuted Hermione a shining self-belief, Michael Pennington brings a lifetime’s Shakespearean experience to the role of the bear-pursued Antigonus and John Dagleish is a suitably nimble-fingered Autolycus. You go to see the stars and, in the words of a Sondheim song, in comes company. • At Garrick, London, until 16 January. Box office: 0330 333 4811. Tickets available at Guardian box office. The Winter’s Tale will be broadcast live to cinemas on 26 November. Hamlet. His voice - urgh! The shivers! 💕💕💕. This was extremely helpful. thanks lol. The Hiddlestoners get Hiddlesboners XD. Some one please recordit pleas. Saw this as part of A Practical Approach to Directing class at Yale. I enjoyed it. Especially Paulina. Did not like the hole in the floor that remained throughout the second act. Kenneth branaghi theater - talvemuinasjutt. My Movies Duration: 01:00 07/10/2019 King Leontes appears to have everything: power, wealth, a loving family and friends. But sexual jealousy sets in motion a chain of events with tragic consequences... So cute how he goes red aww. Предложить материал Если вы хотите предложить нам материал для публикации или сотрудничество, напишите нам письмо, и, если оно покажется нам важным, мы ответим вам течение одного-двух дней. Если ваш вопрос нельзя решить по почте, в редакцию можно позвонить. Адрес для писем: Телефон редакции: 8 (495) 229-62-00. 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Click Here To Watch Or Download Kenneth Branagh Theatre Company Live: The Winter's Tale Movie Unlimited: Genre: Comedy Companies: United Kingdom Release: 2015-11-30 Watch Kenneth Branagh Theatre Company Live: The Winter's Tale (2019) Movie Online Streaming | Watch Movie and TV Shows… Watch Kenneth Branagh Theatre Company Live: The Winter's Tale Movie Online For Free and Download Full HD without Registration | HDFlix Via ‘Kenneth Branagh Theatre Company Live: The Winter's Tale’ Review: Keanu Reeves Kills Everybody in Breathtakingly Violent Sequel One of Hollywood’s best action franchises gets bigger — if not always better — in a bloody sequel that functions as a meditation on fame. “Kenneth Branagh Theatre Company Live: The Winter's Tale” For a semi-retired super assassin who’s killed more people than the Bubonic plague, John Wick (Keanu Reeves) is actually a pretty relatable guy. Beneath the concave cheekbones, the magical handguns with infinite bullet capacity, and the byzantine criminal underworld that stretches to every corner of the globe, he’s just a monosyllabic middle-aged man who wants to be left the fuck alone. When the first movie of this increasingly ridiculous saga began, Mr. Wick was grieving his wife’s death in peace—then some Russian mobsters made the mistake of killing his dog (her name was Daisy, and she was very cute). This aggression, unknowingly committed against a man so dangerous that he used to be known as “Baba Yaga, ” forced John back into the network of contract killers he’d once left behind. And ever since the shadowy crime lords of the High Table sniffed blood, they haven’t lost the scent or minded their own business. At the end of “John Wick: Chapter 2, ” our laconic hero committed a big no-no by shooting a pest on the consecrated grounds of the Continental Hotel, but desperate times call for desperate measures, and every New Yorker knows what it’s like when the world gets a bit too close for comfort. Giddy, exhausting, and breathtakingly violent, “Kenneth Branagh Theatre Company Live: The Winter's Tale” begins a few seconds after the previous installment left off, with the excommunicated assassin trying to make the most of the hour-long headstart he’s been given to hide before the $14 million bounty on his head is triggered and the entire criminal underworld comes after him. Of course, anyone who’s seen the previous films in this unexpected franchise knows that its criminal underworld is more of an overworld, and that almost every featured extra? —? from street vendors and waiters to dog-walkers and homeless people? —? is a heat-packing hired gun who uses their role in the capitalist system as a disguise for their deeper allegiance to a veiled society that operates on an ancient market of codes and blood oaths. Now that Mr. Wick is square in the middle of all of those crosshairs, it’s become comically impossible for the deathless widower to find the solace he seeks. He’s a target, and it seems like the entire world has its finger on the trigger; he used to be anonymous, but now he’s a celebrity. In its most enjoyably demented moments, “Parabellum” is nothing short of a non-stop metaphor for being famous. Less artful but more concussive than its immediate predecessor, this latest outing finds Mr. Wick being clocked by strangers every time he enters a room, stalked by his biggest fans, and so desperate for someone who will treat him like an actual human being that he travels all the way to the Sahara Desert to find them. Everyone in the world knows him by name, New York City is the only place on Earth he can hide in plain sight, and the perks of his job don’t seem to compare with the harassment that comes with them. As Wick stumbles through the wet neon streets of Times Square—returning us to a surprisingly involved film world that flows like “The Raid” and looks like a hyper-saturated Instagram feed? —? it’s hard not to think of Reeves’ recent experience on a malfunctioning airplane, and how even that death-defying ordeal was turned into a viral moment (to the actor’s mild chagrin). Reeves once said that Wick was 40% him, but that number seems to have crept up a bit this time around. 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This is a character who appears to know every single language under the sun, but violence is the most expressive part of his vocabulary (Reeves speaks maybe 100 words in the entire movie). Chinese wushu, Japanese judo, Southeast Asian silat, American Glock… Wick is fluent in them all. But while Stahelski and his team have obviously put a great deal of thought into every frame of fisticuffs, “Parabellum” is so relentless that it often devolves into a numbing flurry of shoulder flips and headshots. If “Chapter 2” bordered on high art for how cleverly it weaved tactical shootouts into public locations (and made every fight operate like an organic bit of world-building), “Chapter 3” is more out in the open. A sneaky little skirmish in Grand Central Station doesn’t live up to Stahelski’s creative potential, even if it’s amazing they pulled off the scene at all. Elsewhere, a motorcycle chase along an empty Manhattan bridge is too rushed and blurry to deliver the “Fury Road” ferocity it teases, and the climactic brawl? —? which makes great use of some familiar faces, and hinges on a funny dynamic of mutual respect—is overwhelmed by a set that looks like a high-end watch commercial, and feels like a watered-down retread of the house of mirrors sequence from the end of the previous movie. Driven by a profound respect for the expressive power of beating someone to death, and empowered by their 54-year-old star’s remarkable skill and commitment, Stahelski and the other poets of percussive carnage that work at his 87Eleven Productions are still (a severed) head and shoulders above the rest of Hollywood’s stunt community. But they can do more with this character, even if it means slowing things down and widening them out. To that end, it’s telling that the most exciting brawl in “Parabellum” (with the possible exception of a knife fight in a Chinatown antiques store) maintains a more expansive vision, as Mr. Wick fights alongside Halle Berry and some four-legged sidekicks. Traveling to Casablanca for reasons that are never adequately explained, Mr. Wick meets up with an assassin named Sofia who owns a pair of well-trained Malinois dogs; like every other supporting character in this movie, there’s mixed blood between them, and she owes him something for some reason. There are coins and seals and lots of jibber jabber about High Table manners and then “Game of Thrones” star Jerome Flynn shows up as a Bronn-like business type who’s a bit too greedy for his own good (it’s hard to tell what accent Flynn is doing here, but he’s most definitely doing it). When the bullets fly, Sofia’s very Kenneth Branagh Theatre Company Live: The Winter's Tale lend a valuable assist, and Stahelski has to open things up in order to frame the dogs as they chew on fresh corpses. The sequence is very “John Wick” and horribly terrific in a hand-over-your-mouth kind of way; it does more than any of the tossed-off business with the Bowery King (Laurence Fishburn) or the Continental Hotel owner (Ian McShane) to whet our appetites for another adventure. Anjelica Huston is also somewhat wasted as the matriarch of a Harlem ballet academy with ties to Wick’s past, but her scenes are so immaculately shot that you’re willing to let it slide. In a film that plays fast and loose with NYC geography, all is forgiven by turning 175th street’s United Palace into the “Tarkovsky Theater, ” where people are trained to be killers in between performances of “Swan Lake. ” The film’s world-building works best in small doses. A meeting in the middle of the desert is a total dead end, whereas all sorts of fun details can be inferred from Stahelski’s frequent cutaways to the High Table nerve center, where dozens of tattooed and lip-glossed workers monitor Wick’s bounty with an old-fashioned switchboard (imagine a SuicideGirls reboot of “Mad Men” and you’ll have the right idea). Non-binary “Billions” star Asia Kate Dillon plays a stiff and slinky High Table adjudicator who’s covered in Thierry Mugler coture; part referee and part femme fatale, their performance speaks to an underworld that’s sustained by a mutual respect for all people so long as they don’t shoot the wrong target. While this franchise is starting to feel a bit long in the tooth, such details suggest that screenwriter Derek Kolstad (here sharing credit with three other scribes) can still mine this world for plenty of new life, so long as future installments find a way to deepen the John Wick mythos instead of just stretching it out. With the significant exception of “Mission: Impossible, ” this is easily the best action franchise Hollywood has going these days, and it would be great for it to keep going with renewed focus. The fact that Keanu Reeves is nearing 60 won’t matter to his fans. For one thing, the man is seemingly ageless. For another, retirement no longer seems like a realistic option for a guy who still gets recognized everywhere he goes. It doesn’t matter if you’re a Hollywood star or a $14 million bounty—fame can be a difficult thing to shake. It’s a work-or-die world, and being forgotten is neither on the table nor under it. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.

This is a really nice production. It trips up in all the ways that smaller theaters are want to do, but none of that bothered me because they got the important stuff right. Edit Storyline King Leontes of Bohemia (Sir Kenneth Branagh) suspects his wife, Hermione (Miranda Raison), and his friend, Polixenes (Hadley Fraser), of betraying him. When he forces Polixenes to flee for his life, Leontes sets in motion a chain of events that lead to death, a ferocious bear, an infant left in the snow, young love, and a statue coming to life. Plot Summary | Add Synopsis Details Release Date: 4 December 2019 (USA) See more » Also Known As: Branagh Theatre Live: The Winter's Tale Box Office Opening Weekend USA: $34, 380, 8 December 2019 Cumulative Worldwide Gross: $141, 143 See more on IMDbPro » Company Credits Technical Specs See full technical specs » Did You Know? Connections Version of The Winter's Tale (1962) Frequently Asked Questions See more ».

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