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    Default Much Ado About Nothing .

    Hi there ! Do you know about the new Joss movie " Much Ado About Nothing " It has to be aired soon. ,

    http://movies.nytimes.com/2013/06/07...refEvita=&_r=0


    WITH: Amy Acker (Beatrice), Alexis Denisof (Benedick), Nathan Fillion (Dogberry), Fran Kranz (Claudio), Jillian Morgese (Hero), Sean Maher (Don John), Reed Diamond (Don Pedro), Clark Gregg (Leonato) and Tom Lenk (Verges).
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    Here is more info , if you want to read it :


    Movie Review
    Arguing Their Way Into Love
    ‘Much Ado About Nothing,’ Directed by Joss Whedon
    NYT Critics' PickThis movie has been designated a Critics' Pick by the film reviewers of The New York Times. Play video
    By Mekado Murphy
    Joss Whedon on ‘Much Ado About Nothing’: In this Anatomy of a Scene, the director Joss Whedon narrates a scene from his film version of Shakespeare’s “Much Ado About Nothing.”
    By A. O. SCOTT
    Published: June 6, 2013
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    Joss Whedon’s adaptation of “Much Ado About Nothing” — perhaps the liveliest and most purely delightful movie I have seen so far this year — draws out the essential screwball nature of Shakespeare’s comedy. It may be the martini-toned black-and-white cinematography, the soigné Southern California setting, or the combative courtship of Amy Acker’s angular, sharp-tongued Beatrice and Alexis Denisof’s grouchy, hangdog Benedick, but from its very first scenes, Mr. Whedon’s film crackles with a busy, slightly wayward energy that recalls the classic romantic sparring of the studio era.

    More About This Movie
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    How Shakespeare Saved ‘Avengers’
    By DAVE ITZKOFF
    Feeling bogged down in “The Avengers,” Joss Whedon intended to take a vacation, but ended up making “Much Ado About Nothing” instead.

    .Enlarge This Image
    Elsa Guillet-Chapuis/Roadside Attractions
    Ashley Johnson and Jillian Morgese in "Much Ado About Nothing," directed by Joss Whedon.
    For Beatrice and Benedick there is a thin line between hate and love, and a clear line of succession links them to, say, Katharine Hepburn and Cary Grant in “Bringing Up Baby” and Rock Hudson and Doris Day in “Lover Come Back.” At the same time, this is a bracingly modern production, well stocked with actors, none quite household names, whose faces will be familiar to fans of Mr. Whedon’s previous work, in particular television series like “Angel” and “Firefly.”

    “Much Ado” was shot cheaply and quickly while the director was occupied with the mighty labor of “The Avengers,” and it is in every way superior to that bloated, busy blockbuster. Also shorter. Do not suppose that this is reflexive literary snobbery or a preposterous apple-and-orange comparison. Shakespeare’s knotty double plot, propelled by friendships, rivalries and a blithe spirit at once romantic and cynical, is a better vehicle for Mr. Whedon’s sensibilities than the glowering revenger’s tale that every superhero movie is forced, these days, to become.

    The best parts of the “Avengers” were its bouts of verbal wit and playful dueling among characters uncomfortably ranged on the same side of a battle, evidence that Mr. Whedon cares more about character than about plot. As fans of “Firefly” and “Buffy the Vampire Slayer” well know, he has a special affection for articulate rebels. The faster they talk, the more he loves them.

    The most exciting action in “Much Ado” is the way Beatrice, a diva of withering disdain, and Benedick, a maestro of gruff misogyny, argue themselves into a state of starry-eyed mutual infatuation. Their amours are aided by the mischief of friends and kin — Reed Diamond’s Don Pedro is especially fine — who recognize the desire lurking behind the anti-couple’s ostentatious contempt for each other.

    Their prickly romance is entwined with the tale of a younger, simpler pair of lovers: Beatrice’s cousin Hero (Jillian Morgese) and Claudio (Fran Kranz), a member of the retinue of soldiers that also includes Benedick. Their union is threatened by the scheming of Don John (Sean Maher) and his treacherous companions, who conspire to wreck Hero’s honor partly to wound her father, Leonato (Clark Gregg), at whose big, suburban house everyone is staying.

    You do not have to have stayed awake in your high school English class to know how it all ends. Shakespeare is an eternal rebuke to modern spoiler sensitivity. His audiences always knew how a play would wrap up, and they did not enjoy themselves any less. (Today’s movie audiences are the same but have been brainwashed to believe otherwise.) A good deal of the pleasure in “Much Ado” comes from the exquisite deferral of the inevitable resolution, and the intensity of the tears — Hero’s especially, but also Leonato’s — that are shed on the way to a joyous ending.

    These are matched by spontaneous, giddy bursts of laughter. Some are supplied by Mr. Gregg, the most reliably funny and doggedly human presence in the “Iron Man”-“Thor”-“Avengers” cycle of mechanical marvels. But any version of this play stands or falls by its Dogberry, the bumbling constable whose logical and verbal pratfalls are their own kind of wisdom. Dogberry, perpetually aggrieved and secretly noble, is like a Samuel Beckett character, and Nathan Fillion (the former misbehaving captain of Serenity) plays him like a weary cop from a police show on the brink of cancellation, resigned to the bureaucratic indignities and petty absurdities that surround him.

    Here I should confess a bias. I prefer my Shakespeare in modern clothing and with American accents, and so I like Mr. Whedon’s take on “Much Ado About Nothing” better than Kenneth Branagh’s star-studded, fancy-dress 1993 version. In this one the costumes, the sets and the voices anchor the play in a pop-cultural dimension where it sparkles effortlessly, and a few loose ends and incongruities only increase the fun. The Italian political context in which Shakespeare embedded his couples was never very plausible or coherent, and here it is enough to know that they dwell in a world of money, power, shifting allegiance and factional intrigue.

    And sex. While not terribly explicit, this “Much Ado” has a sly, robust eroticism entirely appropriate to Shakespeare’s text, which abounds in earthy wordplay. The title itself is a dirty Elizabethan double entendre, and the actors relish the naughty nuances of their dialogue. The flirting and swooning have some heat, which goes a long way to making the movie as cool as it is.

    “Much Ado About Nothing” is rated PG-13 (Parents strongly cautioned). It’s filthier than your English teacher let on.

    Much Ado About Nothing

    Opens on Friday in New York, Los Angeles and San Francisco.

    Directed by Joss Whedon; written by Mr. Whedon, based on the play by Shakespeare; director of photography, Jay Hunter; edited by Daniel S. Kaminsky and Mr. Whedon; music by Mr. Whedon; production design by Cindy Chao and Michele Yu; costumes by Shawna Trpcic; produced by Mr. Whedon and Kai Cole; released by Lionsgate and Roadside Attractions. Running time: 1 hour 47 minutes.

    WITH: Amy Acker (Beatrice), Alexis Denisof (Benedick), Nathan Fillion (Dogberry), Fran Kranz (Claudio), Jillian Morgese (Hero), Sean Maher (Don John), Reed Diamond (Don Pedro), Clark Gregg (Leonato) and Tom Lenk (Verges).

    This article has been revised to reflect the following correction:

    Correction: June 8, 2013


    Schedule information on Friday with a film review of “Much Ado About Nothing” misstated the extent of the film’s opening. It opened on Friday in New York, Los Angeles and San Francisco — not nationwide. (It will be shown in more cities starting June 21.)



    A version of this review appeared in print on June 7, 2013, on page C1 of the New York edition with the headline: Arguing Their Way Into Love..
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    I've been waiting for this movie for so long and I still don't know when or if I'll get the chance to see it in cinema. If I do, it will probably be in one of the two biggest film festivals we have in Belgrade in autumn/winter.
    You keep waiting for the dust to settle and then you realize it; the dust is your life going on. If happy comes along - that weird unbearable delight that's actual happy - I think you have to grab it while you can. You take what you can get, 'cause it's here, and then...gone.

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    I also want to watch it. I see a trialer and there were a scene when Amy Acker and Alexis Denisof are kissing very passionately. It looks like , when I watched Fred and Wesley kissing in the last Angel episodes, before Fred becomes Illyria. I really want to see this movie.
    maked by plamivasi

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    WOW! Excellent film, especially for this thing being shot in 12 days or whatever.

    Only the first kitchen scene was a little hard to understand, but the rest of the dialogue is very understandable.

    Joss actually managed to make this work.

    And for those who see it, wait for the credits and read the cast of names: there are many Whedonverse people in there.

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    Although I do see where some of the people who don't like her are coming from. Coulson and May puting up with her snark doesn't make sense when she comes off as Dawn-like a lot of the time, not Buffy like. Tryig to make her seem "special" as a "hacktivist" when SHIELD should have a whole computer division didn't work if we never saw proof Skye was actually doing more then pressing buttons. Her quest for her parents, while understandable, defanged any point she may have had about SHIELD being underhanded. And at times it seems like they want her to be the main character at the expense of the apparent lead Coulson.

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    What did you think about the movie? I haven´t seen it yet but thinking of buying it but afraid I´m not gonna like it.

    What´s your opinion?

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    I adored Much Ado About Nothing. I've always liked the play but this ranks among my favorite versions. It's also my second favorite Joss Whedon *movie*, after Serenity. The performances were top-notch. Amy Acker's performance was celebrated but IMO, Alexis Denisof and Fran Kranz (in a hard and unflattering role) did just as well, if not better.

    The paragraph below is for those who read Much Ado...or know the story. I'm not spoiler-tagging it because it feels weird to spoiler-tag a story from the 1600s. ;-) Just avert your eyes if you don't want spoilers.

    As a modern adaptation, I loved how the setting was quietly counter-cultural. Joss Whedon's Gatsbyesque house, the free-flowing booze at all time of the day or night, the guys all coming into the house in very dark suits back from a "war" all added to the appearance of some group that bordered on very prosperous and powerful organized crime or at least, serious shadiness among the guys. It did feel like we were looking at a sub-culture which made the actual play's darker events like Hero's public shaming or how Beatrice can ask Benedick to kill Claudio as a sign of his devotion or how the guys were carting a villain/prisoner in the back of their SUV or how the resident police are buffoons who are ridiculously subservient to Count Leonato. It was more effective than acting like Romeo & Juliet could occur, as is, in a 1990s American public high school. Moreover psychologically, it made me root for Beatrice and Benedick even more because it felt like this good love was the best thing that happened to them and could rescue them from endless toxic pretending.

    Great movie. Also, tied with Argo for favorite 2012 movie.

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    I´ve just seen the movie recently and I didn´t like it much. Amy Acker and Alexis Denisof were very good in it and her "If I were a Man" speech was pretty good but the movie didn´t thrill me or even captured my imagination and attention. I don´t know why exactly. Maybe I found it too theatrical. Not sure why.

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    It's been three years since anyone's posted in this thread, but I love this movie so much! I saw it when it came out, just as I was getting into Shakespeare, and I was so proud of myself when I watched Angel and recognized Amy Acker... she's my favorite actor ever now.
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    A beautiful adaptation of a very underrated Shakespeare play. Alexis and Amy’s chemistry is perfect, and I am obsessed with Amy so anything she does I love. But Joss’s version was so impressive in that it did not try to be more than it could be. (since it only took 12 days) They worked with what they had and focused on the character interactions and really nothing more, which is what the play is about.

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