But the conspirators are still wary of his aspirations. They offered Caesar a crown three times, and he refused it every time. The conspirator Casca enters and tells Brutus of a ceremony held by the plebeians. Brutus has a more balanced view of the political position. Cassius, a successful general himself, is jealous of Caesar. He has been gaining a lot of power recently and people treat him like a god. They fear he will accept offers to become Emperor. Information to help you plan your visit to Shakespeare's family homesįellow senators, Caius Cassius and Marcus Brutus, are suspicious of Caesar's reactions to the power he holds in the Republic. Prices, booking, opening times and more to help you get organisedĮnjoy seasonal activities and special events throughout the year It’s the kind of experiment that may be useful for directors and actors, but here hasn’t led to a satisfyingly realized movie.Visit William Shakespeare's Birthplace and explore his childhood world, right where it all began. Byrkit shot the movie - which has a blurred, low-end digital look and a lot of small-screen-ready close-ups - without a script in his living room, setting the performers loose for five days of improvisation. It may be possible to unkink this story, but when characters and performances are as unengaging as these, it’s hard to feel motivated to try. Byrkit turns one too many corners (characters, meanwhile, begin bustling in and out of rooms like Marx Brothers extras), and what began as a nifty puzzle feels more like a trap. Byrkit does a nice job of plotting the story’s complex coordinates while coaxing the characters (and you) into his maze.Īt some point, though, Mr. If that sounds confusing, it eventually is, even if, at first, Mr. Whatever the case, something weird is happening, and, it soon seems, the people in a nearby house look an awful lot like the progressively freaked-out dinner guests. Soon, the dinner party faces a profoundly more severe crisis when it appears that the comet may have wreaked havoc on the guests’ sanity, their perception of reality, or perhaps time and space itself. That proves to be a comet passing over the Earth, which, or so Em insists, may explain why everyone’s cellphone has gone dead. This friction functions as something of a red herring while Mr. First, though, hugs and pleasantries are exchanged while metaphoric daggers are politely brandished, most by Em (Emily Foxler), who’s unsettled that her boyfriend, Kevin (Maury Sterling), once dated another guest, Laurie (Lauren Mahler). There, eight lovers and friends gather together for a would-be convivial evening of food, wine and yammer that soon takes a turn for the woo-woo warped. The same might be said of the far more modest “Coherence,” although it’s also true that digital tools, which allow directors to shoot fast, cheap and sometimes sloppily, are also helping pry loose linear narrative’s hold on movies.ĭirected by James Ward Byrkit, from a story he devised with Alex Manugian, “Coherence” largely takes place in a few rooms in a house tucked into an unidentified American neighborhood. Such seems the case with the likes of “Edge of Tomorrow,” which kinks up its narrative by repeatedly cycling back to the past, suggesting that complex theories about space-time are now so mainstream that they’re the stuff of mass entertainment. It’s a commonplace that speculative fiction speaks to the anxieties percolating in its age.
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