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Too much of everything

Although it has its amusing moments, in eneral the plot does not convince.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

By the time the dramatic fireworks start popping off, each one feels earned.

Giselle is one of the finest ballets there is, and for other fans of the it this production from the Royal Ballet is a treat, everything Giselle should be. It is a visually beautiful production with lighting that is both beautiful and haunting, the sets reflect the charming rustic village life and the mysterious marshlands wonderfully and the costumes are very sumptuous. The dancing is breathtaking, intricate and very graceful yet never cold, the Corps De Ballet time their movements and show great dancing techniques and not in a long time have I seen lifts as brilliantly executed than here. The orchestral playing brings out the emotional aspects of the score superbly(one of the finest ballet scores that doesn't have Tchaikovsky's name on it) and shows so much ravishing tone. Boris Gruzin compliments these attributes and does nothing to indicate otherwise. Alina Cojacaru is one of the finest Giselles I've ever encountered, not only nailing all the dancing and dramatic demands of the role but going beyond those as well giving overall an out-worldly and very poignant performance. Johan Kobborg dances with cleanliness and precision with leaps and jumps that will leave you wondering "how does he do those to such inhuman heights?". Albrecht's repentance came across as genuine to me as well. Marianela Nunez's Myrtha is suitably cold, complete with truly graceful dancing, while the Hilarion of Martin Harvey is enough to tug at the heart-strings. All in all, a lovely and haunting production. 10/10 Bethany Cox