| 100 |
Seattle Post-Intelligencer
Sensitive and vivid response to the tangled issues of teen violence, race and self-esteem.
|
| 88 |
Chicago Tribune
A sign of O's effectiveness is that it works regardless of whether you know Shakespeare's play.
|
| 88 |
New York Post
Exceptionally intelligent and powerful contemporary adaptation.
|
| 83 |
Entertainment Weekly
To an astonishing degree, O gets the tragic Shakespeare mood, that somber stentorian passion born of hidden slivers of ambition and betrayal.
|
| 75 |
New York Daily News
This is a serious and well-acted drama, not a jokey ripoff, whose relevance (however distant) to Columbine is a plus.
|
| 75 |
Chicago Sun-Times
A good film for most of the way, and then a powerful film at the end, when, in the traditional Shakespearean manner, all of the plot threads come together, the victims are killed, the survivors mourn, and life goes on.
|
| 75 |
USA Today
Artful and emotionally compelling.
|
| 75 |
San Francisco Chronicle
O has one advantage over "Othello" -- since it's a new movie, not a classic, it has the power to surprise.
|
| 75 |
Charlotte Observer
The filmmakers have a vision of the way Shakespeare can be made vibrant and vital to modern viewers, with or without the lofty original dialogue.
|
| 70 |
Los Angeles Times
Essential to the success it manages is Hartnett's low-key, charismatic performance -- cool, withholding, compelling. The triumph of his insinuating Hugo/Iago is how plausible he is, how he manages to convincingly inject poison in so many minds without seeming to be trying.
|
| 63 |
Philadelphia Inquirer
Stripped of its poetry, some of the devices of the tragedy of the Moor come off here as woefully contrived.
|
| 63 |
Miami Herald
What O lacks is a sense of spontaneity: Despite its contemporary dialogue and manner, the movie can't overcome a nagging aura of artifice.
|
| 63 |
Boston Globe
The film collapses under the weight of the effort to shoehorn Shakespeare's story into a context that ultimately doesn't accommodate it.
|
| 60 |
TV Guide
Every character fated to die in Othello meets his or her maker by the time the curtain falls on Blake's adaptation, which means the manicured campus of Palmetto Grove is left littered with slain coeds.
|
| 60 |
Mr. Showbiz
Too much of a locker-room melodrama to make for great tragedy.
|
| 50 |
Washington Post
A fairly ordinary drama about young love, basketball, petty jealousy and high school politics. The movie also has one of the goofiest, over-the-top finales in recent memory.
|
| 50 |
New Times (L.A.)
The film generally looks like a TV special, with low production values and lots of closeups.
|
| 50 |
Washington Post
Everything has been modernized except for the characters, and that's this movie's tragic flaw.
|
| 50 |
Baltimore Sun
This turgid melodrama fast-breaks away from the heart of its own subject.
|
| 40 |
Time
On your already groaning Shakespeare for Teens video shelf, stack this one above "10 Things I Hate About You" (a.k.a. "The Taming of the Shrew") and quite a bit below "Romeo + Juliet."
|
| 40 |
Newsweek
The actors attack their roles with commitment (Hartnett’s understatement is impressive), but their fervor can’t hide the movie’s implausible, often confusing storytelling.
|
| 40 |
The New York Times
In trying to make "Othello" more lifelike and bring it down to a younger audience -- in effect, to make it more democratic -- the adaptation has rendered the material artless.
|
| 40 |
Village Voice
Had Nelson and Kaaya been less concerned with following Othello to the letter and rather had pursued this love affair into uncharted cinematic waters, O might have been more than an unresolved mixture of gimmickry and good intentions.
|
| 30 |
Salon.com
The film is a plodding, earnest adaptation that strips the source of its richness and ambiguity.
|
| 30 |
New York Magazine
It's a doomy dirge of a movie, in which the protagonists, or at least the actors who play them, aren't equipped to handle their outsize passions.
|
| 20 |
LA Weekly
The makers of this malnourished teen drama haven't just dropped six letters from the title of Shakespeare's Othello, they have excised everything that gives the original its troubling power -- principally a point but also furious passion.
|
