Did you ever wonder what the domestic life of William Shakespeare might have actually looked like? Spoiler: it’s not the Bard you met in your high school English class. Forget the feather quill in the candle-lit study — this Shakespeare is knee-deep in a messy marriage, tending to sick children, managing long-distance fatherhood, and proving that even the greatest playwright in history couldn’t master work-life balance.

Based on Maggie O’Farrell’s bestselling novel, Hamnet wisely focuses not on Shakespeare, but on his wife, Agnes Hathaway. She is the film’s emotional center — a strong, intuitive woman trying to run a household in plague-stricken Stratford-upon-Avon while her husband frequently disappears to London to pursue his burgeoning theater career. Whenever Will does return home, the visits oscillate between fiery arguments with Agnes and tender, restorative moments with his children — including young Hamnet himself.

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As a lifelong devotee of all things Shakespeare, I was more than eager to attend this screening. I’ve visited the reconstructed Globe Theatre in London and made my own pilgrimage to Stratford-upon-Avon. While the movie is set in both locales, it was actually filmed elsewhere in the UK — though you’d hardly notice. Still, I would have welcomed a bit more balance between the Stratford domesticity and the London theatrical world. But the film’s intent is clear: this is Agnes’s story, not William’s.

And like many acclaimed indie films, Hamnet lives or dies on its performances. Fortunately, the acting is its beating heart.

Jessie Buckley delivers a fierce, emotionally raw Agnes — part mystic, part healer, part exhausted mother battling plague, loneliness, and marital distance. Many viewers will relate deeply to her exhaustion and resilience. If Hamnet gets any Oscar buzz, acting-wise, it will be because of Jessie.

Paul Mescal, as Shakespeare, gives a thoughtful performance as a brilliant but distracted husband — the kind of man who might forget to take out the trash because he’s lost in a metaphor. His pivotal monologue (which eventually echoes in Hamlet) is beautifully delivered and showcases real range.

Finally, the child actor playing Hamnet brings a tender emotional weight that elevates the film’s final act. His performance is subtle but affecting — and yes, it may bring more than a few audience members to tears.

My final verdict? A solid B+. Hamnet is beautifully acted, gorgeously constructed, and emotionally resonant — particularly, if you’re already a Shakespeare devotee. Legend has it that its TIFF premiere earned a four-minute standing ovation. I understand the enthusiasm — I’d have been standing too.

But here’s the truth: those of us applauding were already “in the congregation.” For broader audiences, the film may feel slow, dialogue-heavy, and emotionally draining. This is not Shakespeare in Love (1998), which captivated the masses. Hamnet is more meditative, more somber, and far less mainstream.

You’ve been advised.
Choose wisely.

About The Peetimes:

There are no extra scenes during, or after, the end credits of Hamnet.

Plot
The powerful story of love and loss that inspired the creation of Shakespeare’s timeless masterpiece, Hamlet.
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Film

Zootopia 2
Directors: Jared Bush, Byron Howard
Walt Disney Animation Studios
In Theaters: 11.26.2025

I’ll freely admit that I’m a sucker for anything animated that features talking animals. Disney’s The Jungle Book was literally the first movie I ever saw in my life and I really struggle to process the idea that there are people out there who didn’t like Zootopia. The mixture of fuzzy, furry friends with the ‘80s buddy cop homage and a healthy dose of not-so-subtle social commentary really did it for me. By virtue of being a sequel, Zootopia 2 is understandably going to have a higher number of detractors, but I won’t be among them.

Zootopia 2 picks up roughly within a year of the events of the first film, with Judy Hopps (Ginnifer Goodwin, Walk The Line, Once Upon A Time) and Nick Wilde (Jason Bateman, Arrested Development, Ozark) struggling in their now-official police partnership, bickering so much they’re forced into “partner therapy.” Their latest case begins with the arrival of Gary De’Snake (Oscar-winner Ke Huy Quan, Everything Everywhere All At Once), a mysterious pit viper whose sudden appearance sparks citywide panic. When a high-profile kidnapping at the crime at the Zootennial Gala (a celebration of 100 years since the city was founded) points to Gary, Judy and Nick give chase — only to uncover a buried chapter of Zootopia’s past involving a long-hidden reptile community. As they flee both criminals and their own department, the duo learns that Gary’s motives may not be what they appear to be. This case proves to be the ultimate test of Judy and Nick’s ability to work together, and if they don’t learn to put their differences aside and trust each other’s instincts, their investigation may be over before it even begins.

The plotting gets a bit convoluted, and the “bigger is better” formula that tends to be standard for sequels threatens to get the “better” of the movie at times. But only at times. On the whole, Zootopia 2 is filled with enough high energy fun that it works even when it’s not completely sure where it’s going. A good deal of this comes down to Nick and Judy, who rank up there with Disney’s most likable classic characters, and share such a charming dynamic that they are always a treat to watch. The movie builds on that dynamic and the complexities of their friendship and working relationship, and even runs into the almost inevitable question: is there potential for more than a professional, or even friendship-based relationship between a bunny and a fox? While it’s never directly addressed, it’s hard to escape the feeling that there’s a mutual interspecies attraction here the likes of which is generally reserved for frogs and pigs. I honestly don’t think even writer and co-director Jared Bush knows exactly where this relationship is going to go in the clearly teased Zootopia 3, but what matters is that we care so much about them as characters that whatever the bond is between them, we’re solidly invested in seeing it through and rooting for them. Goodwin and Bateman are simply marvelous, and the perennially lovable Quan is a very welcome addition as Gary, as is Andy Samberg (Brooklyn Nine-Nine) as Pawbert Lynxley, the unwanted, screw-up member of Zootopia’s most powerful family.

Zooptopia 2 is a delightful family adventure with a lot of heart and creativity, and it’s perfect holiday weekend moviegoing. If it’s not your thing, it’s not your thing, but for everyone else, it’s a joyful and exhilarating experience. —Patrick Gibbs

Read more film reviews from Patrick Gibbs:
Film Review: Eternity
Film Review: Rental Family

See if you can discover the rest of the plot.

Tumbledown is a 2015 film. A New York writer attempts to contact a grieving woman and questions her about her late husband’s ambiguous death. As Hannah reluctantly opens up to Andrew, the pair slowly grow romantic feelings for one another.

We can always use a relatable film about writing. Tumbledown interweaves themes about grief and second chances. The film is great for what it is, but its central focus should have been on its main characters and its themes of building new stories.

I have come to love Rebecca Hall. She is an incredible actress with versatile talents. Her character, Hannah, reminded me of Beth in The Night House, but Hall has a knack for playing roles differently. Hannah could have been your average grieving character, but Hall breathes more depth into the role, especially in her countenance. She uses humor as a defense shield.

Jason Sudeikis plays Andrew, the reporter pursuing Hannah for her story. I like how Sudeikis plays the role, adding comical touches and his character’s empathy. He was also chosen for the role for his emotional depth.

Hall and Sudeikis are the sarcasm duo who work on putting a story on the pages. Andrew and Hannah have a fascinating dynamic, slowly understanding that they both have hidden layers.

Tumbledown was already a strong story with its acting duo, but the film had to add more characters. The supporting characters are not as strong. That doesn’t go for Blythe Danner, who plays Hannah’s nagging mother. Credits include Richard Masur, Joe Manganiello, Dianna Agron, Griffin Dunne, and Maggie Castle.

Other characters pad the runtime. Save for Hannah’s adorable dogs, however. Dogs always make the best companions. Hannah’s dogs follow her around or threaten anybody who looks suspicious. I enjoyed when Hannah read to them

In Sean Mewshaw’s directorial debut, the film’s tone reflects a quiet sadness. He also inserts moments of comedy. Tumbledown is not your typical grief film, though it has relatable lessons. Grief has several stages. As the town’s bookshop owner said, it’s okay to ask for help.

The film was a collaborative project between Mewshaw and his wife, Desiree Van Til, who wrote the film. Tumbledown spent a decade before being developed. The story of Tumebledown all started when Van Til experienced homesickness for her home state, Maine. She wrote the story as a celebration of her hometown and as a grief method film.

Tumbledown is also a writing film, my favorite subject. This film is an example of journalism, a job that has steadily grown for me in the last year. Andrew and Hannah have different approaches to writing. While Hannah sees no point in telling the story, Andrew describes a book as someone’s legacy.

The cinematography is beautiful, capturing nature’s beauty. The cliffside viewing of the sunset was an incredible shot. I love sunsets so much that I pull over when driving to take a picture.

Although the film takes place in Maine, unfortunately, filmmakers could not film there because it was too expensive. Instead, different locations in Massachusetts filled in for it. Filmmakers accommodated nice interior settings, like Hannah’s home and the town bookstore.

Second chances are a gift. As I was saying, Tumbledown should have focused more on its central characters and their revelation about second chances.

The film was received in a positive light by audiences when it premiered at film festivals. Take a look at Tumbledown. It makes a nice romance movie, a film for writers, and a grief-healing story.