The highly anticipated Shakespeare drama "Hamnet" starring Paul Mescal and Jessie Buckley is generating significant Oscar buzz but faces criticism for being emotionally manipulative despite its stellar cast and production values. The film, adapted from Maggie O'Farrell's acclaimed bestselling novel, explores the tragic death of William Shakespeare's 11-year-old son and its influence on the creation of "Hamlet."
Directed by Chloé Zhao, the Oscar-winning filmmaker behind "Nomadland," and co-written by Zhao and O'Farrell herself, the movie is already being swept along on a wave of adoring reviews. It's expected to land on numerous "best of 2025" lists and thousands of Oscar ballots, featuring two of Ireland's most magnetic young actors alongside the creative genius of William Shakespeare's story. The film's central concept revolves around the idea that the tragic death of Shakespeare's son Hamnet fed into the writing of what many consider the greatest play in the English language, with an opening caption explaining that in Elizabethan England, the names Hamnet and Hamlet were interchangeable.
However, critics argue that while many viewers have fallen under the film's spell, Zhao and O'Farrell have stripped away much of what made the original novel magical. The time-traveling structure, hypnotic prose rhythms, internal monologues, and tiny tangible details that distinguished the book have been largely removed, leaving what some describe as no more profound or authentic than any other period costume drama.
The film's opening scenes bear resemblance to "Shakespeare in Love" from 1998, with Buckley portraying Anne Hathaway (called Agnes by her family), a farmer's daughter rumored to be the child of a forest witch. She spends much of her time in the woods with a pet hawk, gathering herbs and fungi for her potions and poultices. Mescal plays Will, a glovemaker's son and part-time Latin tutor who spends his time in an attic writing the first draft of "Romeo and Juliet." The film establishes from these early moments that subtlety will not be its strong suit.
Buckley delivers what critics describe as a very characteristic performance, portraying Agnes as a fierce, earthy rebel who is more honest than those around her. The nervous Will quickly becomes smitten and stammers his proposal: "I wish to be hand-fasted to you." While the romance is warm and sweet, some find it not especially believable. The newlywed Shakespeares live an idyllic, picture-postcard life with their daughter Susanna and their twins, Hamnet (played by Jacobi Jupe) and Judith (Olivia Lynes), though critics note that despite the story's emphasis on the twins' uncanny similarity, the actors look nothing alike.
The film's portrayal of Stratford-upon-Avon appears oddly isolated, with few other houses or people visible. Critics point to contrived conversations peppered with quotes from Shakespeare's plays and explanations of situations that everyone in the scenes would already understand. Will's bullying father repeatedly tells him he's useless, leading to a confrontation where Will grabs him and slams him against a wall, reminiscent of Mescal's character's actions in "Normal People."
While some argue it's harsh to blame a costume drama for following genre conventions, these elements seem particularly jarring in a film directed by Zhao. Setting aside her Marvel project "Eternals," her previous works "Nomadland" and "The Rider" were praised for their naturalistic approach that made viewers feel like they were observing real people in authentic settings. "Hamnet," with its strident performances, studied references, and self-consciously serious tone, draws comparisons to music biopics with forced dialogue.
Despite these criticisms, many viewers have been deeply moved by the film, primarily because it deliberately targets emotional responses with what critics call "absolute ruthlessness." When Will experiences writer's block, he shouts and bangs his fists on the table during the night in scenes that could secure Mescal an Oscar nomination. Similarly, when Judith and then Hamnet fall horribly ill with the plague, Agnes erupts in raw-throated screaming that will likely earn Buckley an Oscar nomination. While these scenes are undeniably upsetting, featuring a small boy crying in agony and his mother howling in distress, critics argue they seem more exploitative than insightful since most audiences already understand that a child's death is devastating.
The film's emotional manipulation continues in its finale, when Agnes attends the debut production of "Hamlet" at the Globe Theatre following her son's death. Will sobs as he delivers his lines, the entire theater audience appears stunned into mass hypnosis, and Max Richter's "On the Nature of Daylight" (previously used in "Arrival" and numerous other films) fills the soundtrack for several minutes. While these scenes may move viewers to tears, critics suggest that Zhao's obvious effort to achieve this effect may remind some of the line from "Macbeth" about a tale "full of sound and fury, signifying nothing."
Critics also question the film's central premise that Shakespeare wrote "Hamlet" in response to his bereavement. While this theory is entirely feasible given the play's themes of grief and father-son relationships, the film struggles to establish more enlightening connections. One supposed link shows the play's backdrop painted with a deep green forest reminiscent of where Will and Agnes met, but since "Hamlet" isn't set in a forest, this choice seems illogical for the Globe's set designers. Another connection involves sword-fighting scenes that both appear in the play and in earlier scenes where Hamnet and Will practiced together, but critics question whether these echoes reveal anything meaningful about the transformation of life into art or simply manipulate viewers' emotions.
As the play unfolds, Agnes poses a crucial question: "What has any of this to do with my son?" While O'Farrell's novel provides intriguing answers to this question, critics argue that the film lacks the nuance necessary to explore this theme meaningfully. The movie runs for 2 hours and 5 minutes and features additional cast members including Emily Watson, Joe Alwyn, and Noah Jupe. It was released on November 26 in the United States and is scheduled for release on January 9 in the United Kingdom, positioning itself as a major contender in the upcoming awards season despite the mixed critical reception regarding its emotional authenticity.
