Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

ScoobyMint Disappointment for a huge fan!

Kidskycom It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

Phillipa Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Filipe Neto Before I look at this film I must clarify a thing: I'm an unconditional opera fan, I think its the most complete art form that exists, since it harmonizes several forms of art, namely music, theater, singing and often dancing. When its well made, opera is a feast for the senses which is only harmed by a huge and unjust elitism, blamed for the exorbitant ticket prices. So I know very well "The Magic Flute", with Mozart's music on a Schikaneder text. Having made this clarification, let's talk about the film.Kenneth Branagh is a brave guy, it takes some courage to adapt Shakespeare to the movies and he did it more than once. So it doesn't surprise me that he had the guts to turn one of the most famous comic operas ever into a movie. Its almost iconoclastic, especially for the purists, but he did it! The film is very beautiful and the transition to the cinema didn't harm music at all. Mozart's melodies are almost all there, only omitting elements most related to the Masonic apology that Mozart and Schikaneder wanted to do. Most singers aren't famous and Rene Pape, in the role of Sarastro, is the most easily recognizable name. Personally, I think there would be no problem in betting on experienced and well-known singers, as long as they were prepared for the demands of film work. The work of the Chamber Orchestra of Europe also deserves a note of congratulations.Anyone who knows the original libretto immediately realizes that the context and environment of the story has been totally changed: action no longer happens in a world of fairy tales, but during a war, clearly inspired by First World War, but this raises a problem: some characters never properly fit into this environment, as the Queen of the Night. There was also an effort to make the story more politically correct, as the original opera is, sometimes, racist and misogynist. Don't blame Mozart for that, it was the mentality of people back then. Even so, these changes have made some characters meaningless. This is what happened to Monostatos who, in the original opera, is a Muslim from North Africa, portrayed according to the prejudices of that time.In the midst of some flaws arising from the changes made to the environment in which the story takes place, the film is very enjoyable. Of course, Mozart's music will always be the element that will draw people to watch it, but personally I think its also an interesting way to awaken for the opera some people who, otherwise, would never have the curiosity to give a chance to this beautiful art form.

sclvr I stumbled on this today. It's on Netflix now, which apparently is the first time audiences in the US have had an easy way to see this. I was blown away. I have loved this opera for most of my life, and the interesting setting in WW I was compelling to me. Kudos to Kenneth. But the grandeur of Mozart's music really overshadows everything. Pure genius. Why isn't this easily available in the US? No, it won't make a lot of money at the box office, but there are a lot of people who would end up getting a copy of this on DVD/Blu Ray.....Mozart is very popular and a nice version of one of his best operas in English will do well over the long term. It might even lure some people in who haven't listened to Mozart before. Lets get it out there, guys!

jen-parry A man behind me commented at the end, 'What a bizarre idea', which I suppose it was, if he was expecting a filmed version of the staged opera. What we get, however, is a proper movie, with all the tricks and all the realism that can offer. The plot is - always was - nonsense, which suits this semi-fantastic treatment perfectly. Branaugh uses his CGI with drama and humour as well as the poignancy of the First World War to hold the story together. The principals were ideal - they looked right as well as sounding perfect. Papageno was a comic delight. Liz Smith - not a singing role - was enjoying herself as much as the audience where I saw the film enjoyed her. The singing would be enough to hold an audience on its own.

paterfam001 Ingmar Bergman had the right idea -- present 'The Magic Flute' as a filmed stage presentation, complete with audience, intermission and a certain amount of behind-the-scenes byplay. Branagh's version suffers from being a straight movie, more-or-less realistically filmed, though with an overabundance of Art Direction and Set Design, and cheap CGI for the magical effects. The stage gives the distance that allows enchantment, the film's realism negates that. The letter killeth, the spirit giveth life. Would it have been better if the budget had been bigger? Possibly, but maybe not. The story is sweet, but, in fact, rather silly - Schickaneder was, after all, not Goethe. In the post-'Lord of the Rings' era we expect our heroes to undergo rather tougher trials in pursuit of the Magic Dingus, and we expect our villains to be more effectual. Dramatic conflict is on the low side of gripping. That said, the movie was generally pretty to look at, the singers were good-looking and svelte, their acting was pretty decent, ***** the MUSIC WAS GLORIOUS *****, and they sang it well. I sat the whole time with a smile on my face, my soul vibrating along with the singers' vocal cords. Somebody, I hope, will tell Kenneth Branagh that the circling-camera trick is corny. And tell Mr. Frye that double (feminine) rhymes, though all right in an inflected language like German, sound goofy in English.