Good start, but then it gets ruined

Absolutely brilliant

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

I saw THE SEAGULL last night at Tower Theater here in Sacramento, California. I'm glad I did. The agony of love, the agony of art . . . the pleasure and pain of human relationships and the joy and trauma of creativity--the tragic comedy of unrequited work & love. How could I not love it? I'm the sweet-spot of their target audience: a heartbroken artist.This smart, entertaining, soul-searching riff on Checkhov's play by screenwriter Stephen Karam and director Michael Mayer looks and sounds beautiful on film.I burst into a catharsis induced cry at the crucial moment, the thematic climax of the story, blissfully blindsided by the storytellers' beautiful insight into what it takes to be an artist. Once again, I experienced the power of art to lift me up and help me soar when my wings feel clipped or I feel shot down.My Silver Knight Rating of THE SEAGULL--White Knight (Form): 7.5Black Knight (Story): 8.0= Silver Knight (Form & Story): 7.757.75 CamerasThe Silver Knight Rating scores a movie's level of play in what I call the Chess Game of Art. (See my IMDb commentary on ARRIVAL.)

Old school techniques in lighting and the use of close-ups were the perfect complement to the stunning setting where the film was shot. The ensemble is perfectly cast; the women shine in this film but the male roles were also expertly played by the surprising Corey Stoll and Billy Howle. My only critique is that the end does feel a bit rushed...it moves toward its inevitable conclusion, but in a way that could have been fleshed out a bit more. Excellent adaptation overall.

I have never seen the play performed, so I am not referencing any stage versions, though I have seen a ballet version. This version is gorgeously shot, both of the outdoors scenery, and the claustrophobic indoor scenes. Set in the early 1900s, this collection of bored, landed gentry and self-important artists deserve a revolution to sweep them away.Somewhat central is the mother Irina, who loves herself about all. The story belongs to her son Konstantin and his girlfriend Nina (Saoirse Ronan, who really chews up the scenery). They are in love, but Nina then falls in love with Irina's lover, and things fall apart. Meanwhile, there is a whole chain of characters with unrequited love, each focused on someone who bats them away, just as they bat away someone who is in love with them.The exposition of the story is good, except for one glaring point. There is a jarring and confusing insertion of the start of Act 4 at the beginning of the film. This seems to be a blatant attempt to give Annette Bening top billing, since the credits were "in order of appearance".

SPOILER: The Seagull. Heart wrenching, hilarious, appalling, and the only one who gets out alive is the seagull, shot early on. So much ambition, so little success. From the estate staff, cooks, & caretaker to renowned stage and literary stars, breathtaking in life's limitations.