At Southern Lehigh High School, Center Valley, English teacher Mrs. Sprandel didn’t only teach Shakespeare, she acted out the parts in the classroom, in costume.

Faye Sprandel took her Solehi Class of ‘68 students, including yours truly, on a field trip to the American Shakespeare Festival (1955-1982), Stratford, Conn.

It was the beginning of an abiding interest for me in The Bard, including a stint at the Pennsylvania Shakespeare Festival (PSF), as marketing director for two seasons with festival founder, Fr. Gerard Schubert O.S.F.S. (1929-2015). I even brought Academy Award-winner Jack Palance (1919-2006; born Volodymyr Palahniuk in Lattimer Mines, Luzerne County, a son of Ukrainian Catholic immigrants) to see a PSF production at DeSales University, Center Valley. That’s a whole other story. I digress.

Meanwhile: “Hamnet.”

Is it not “Hamlet”?

The movie “Hamnet” states from the outset in a title card: the names, Hamnet and Hamlet, were the same or interchangeable in Renaissance England.

Thus, we have the premise of “Hamnet,” based on the 2020 speculative fiction novel of the same title, “Hamnet,” by Maggie O’Farrell.

The movie is a fictionalized, impressionistic, intriguing rumination on how the death of Hamnet, age 11, the only son of William Shakespeare (1564-1616) and Anne Hathaway, may have inspired Shakespeare’s play, “The Tragedy of Hamlet, Prince of Denmark” (believed written 1599-1601).

The play, “Hamlet,” is regarded by scholars as among the “most powerful and influential tragedies in the English language.” It’s a story of “seemingly endless retelling and adaptation.” It is said to be “one of the greatest plays of all time.”

In the film, “Hamnet,” Anne’s name is Agnes, said to be interchangeable with the name Anne.

This was centuries before the Paul Simon song, “You Can Call Me Al,” from the album, “Graceland” (1986). Again, I digress.

The plays of Shakespeare can also be interchangeable, a template of our times, with updated settings, costumes and casting. Shakespeare’s plays hold up a mirror to us, to the human condition, to our hearts and minds, to the clanking sword fights of emotions.

“Hamnet,” set realistically in 16th century England, mostly takes the point of view of Agnes. The tragedy of Hamnet is seen through her eyes. Shakespeare is almost a footnote, almost as much of a cypher as is Hamlet’s Father’s Ghost floating by (and inspiring Charles Dickens’ “A Christmas Carol” centuries later in 1843 and time travel, science fiction and ghost stories past, present and future).

As depicted in “Hamnet,” Shakespeare is few of words and flat in emotions, saving it all for his pen on paper and his actors on the stage. The pivotal scenes of “Hamlet” in the Globe Theatre are a revelation to Agnes. She has been in the presence of genius. She married a mortal who would become immortal. She finally sees him, her husband, their son and herself. It’s an allegory. It’s a parable. It’s a revelation.

Not unlike the movie, “Hamnet,” which now and forever takes its rightful place as an immortal interpretation of the life of Shakespeare. Even if fiction and not fact, it’s truth.

Yes, the plays of Shakespeare are about emotional truth and the never-ending battle between head and heart. Truth is beauty, is love, is belief, is faith, is a life well-purposed.

“Hamnet” explores “the undiscover’d country” (Hamlet’s “To be, or not to be” soliloquy, “Hamlet,” Act 3, Scene 1). The scene is delivered here as never before. Sheer brilliance. The directing is fearless. There’s can be no fear in Shakespeare.

Chloé Zhao (four-time Oscar nominee; Oscar recipient, best picture, director, “Nomadland,” 2020) directs Jessie Buckley (Agnes Shakespeare), Paul Mescal (William Shakespeare), Joe Alwyn (Bartholomew Hathaway), Emily Watson (Mary Shakespeare) Jacobi Jupe (Hamnet) and Noah Jupe (Hamlet).

Zhao moves story and camera with restraint, understatement and directness from a screenplay she wrote with Maggie O’Farrell from O’Farrell’s novel.

The cinematography by Lukasz Zal (“The Zone of Interest,” 2023; two-time Oscar nominee, cinematography: “Cold War,” 2019; “Ida,” 2015) is dark. You have to really watch to see.

The soundtrack by Max Richter (“Arrival,” 2016; “Ad Astra,” 2019) is minimalist and unobtrusive. You have to really listen to hear.

Jessie Buckley (“Women Talking,” 2022; “Wild Rose,” 2018) is transcendent as Agnes. She is like a force of nature, at one with the mysteries of forest, field and stream, the force majeure, a source of power, misrule and disruption swirling round the world of Shakespeare’s plays.

With a crooked grin, cynical countenance and wise-acre retorts, Buckley gives an inspired performance. In the climactic scene as a Groundling in front of the stage in the Globe Theatre during a performance of “Hamlet,” her face, lips silent, mouth agape, eyes searching like spotlights, speaks volumes. Finally, hands outstretched, she crowd-surfs emotions. She sums up the entire film, this world of woe and wonder, in one scene of infinite and unfathomable sadness.

Paul Mescal (“Gladiator II,” 2024; Oscar nominee, actor, “Aftersun,” 2023) is the quiet force as Will Shakespeare. He’s compact in emotions, reined as if he’s a horse about to bolt. He doesn’t so much smile as rue: thin lips pursed, eyes riveting and body almost motionless, but not emotionless. He’s a rough-edged working man of words, sweating and scratching and sculpting his cautionary tales to poetry.

Look for double-digit Oscar nominations for “Hamnet”: picture, director, adapted screenplay, actress, actor and more. I daresay that Jessie Buckley will receive the actress Oscar for her performance.

“Hamnet” is a must-see for aficionados of Shakespeare (or bardolators as George Bernard Shaw coined us; you know who you are); fans of Chloé Zhao, Jessie Buckley and Paul Mescal, and those seeking a genuine cinema-going experience.

After seeing “Hamnet,” you will never see or hear Shakespeare the same. Don’t miss it.

“Hamnet,” MPA rated PG-13 (Parents strongly cautioned, meaning some material may be inappropriate for children under 13) for thematic content, some strong sexuality, and partial nudity; Genre: Biography, History. Drama, Romance; Run Time: 2 hours, 5 minutes. Distributed by Focus Features.

Credit Readers Anonymous: The traditional song, “My Robin To The Greenwood Gone,” is heard during the “Hamnet” closing credits. “Hamnet” was filmed July through September 2024 in Wales; Herefordshire, England, and the Charterhouse, London.

At the Movies: “Hamnet” was seen in the standard format at AMC Center Valley 16.

Theatrical Movies Domestic Weekend Box Office, Dec. 12-14: “Zootopia 2” moved up one place and returned to No.1 with $26.3 million in 3,835 theaters, $258.9 million, three weeks.

Internationally, “Zootopia 2” has grossed $1.13 billion, the second Hollywood movie to do so in 2025, surpassing the “Lilo & Stitch” live-action remake, which grossed $1.03 billion in 2025.

2. “Five Nights at Freddy’s 2” dropped from its one-week stay at No. 1, with $19.5 million in 3,579 theaters, $95.4 million, two weeks. 3. “Wicked: For Good” stayed in place, $8.5.million in 3,480 theaters, $312.1 million, four weeks. 4. “Dhurandha” moved up five places, $3.5 million in 377 theaters, $7.9 million, two weeks. 5. “Now You See Me: Now You Don’t” stayed in place, $2.3 million in 2,411 theaters, $59.3 million, five weeks. 6. “Jujutsu Kaisen: Execution” dropped two places, $2.1 million in 1,935 theaters, $14.5 million, two weeks. 7. “Ella McCay,” starring Emma Mackey, Woody Harrelson and Jamie Lee Curtis in the Comedy, Drama, $2.1 million in 2,500 theaters, opening. 8. “How the Grinch Stole Christmas,” $1.8 million in 2,250 theaters, re-release opening. 9. “Eternity” dropped two places, $1.7 million in 2,067 theaters, $12.9 million, three weeks. 10. “The Shining,” $1.5 million in 400 theaters, re-release opening. 11. “Hamnet” dropped three places, $1.4 million in 749 theaters, $7 million, three weeks.

Movie box office information from Box Office Mojo as of Dec. 14 is subject to change.

At The Movies: reviews by Paul Willistein: “Hamnet,” “Zootopia 2,” “Wicked: For Good,” “One Battle After Another,” “Bugonia,” “Nuremberg,” “Frankenstein,” “Springsteen: Deliver Me From Nowhere,” “Tron: Ares”: https://www.lvpnews.com/

Unreel, Dec. 19:

“Avatar: Fire and Ash,” MPA rated PG-13; 3 hours, 15 minutes. James Cameron (eight-time Oscar nominee; three-time Oscar recipient, “Titanic,” 1998) directs Kate Winslet, Zoe Saldaña, Stephen Lang, Oona Chaplin, Sigourney Weaver, Sam Worthington, Edie Falco, Giovanni Ribisi and David Thewlis in the Action Adventure Science-Fiction Fantasy film.

Jake (Sam Worthington) and Neytiri’s (Zoe Saldaña), Jake’s wife, and their family grapple with grief after Neteyam’s death, as they face a new, aggressive Na’vi tribe, the Ash People, led by Varang, when the conflict on Pandora escalates.

It’s the sequel to “Avatar: The Way of Water” (2022) and “Avatar” (2009). Two more sequels, “Avatar 4” and “Avatar 5,” are scheduled to be released in 2029 and 2031.

Performance capture and computer-generated imagery combine to create a world that warrants a trip to the movies.

“The Housemaid,” MPA rated R; 2 hours, 1 minutes. Paul Feig (five-time Primetime Emmy nominee, including “The Office,” 2009) directs Allentown native Amanda Seyfried (“The Testament of Ann Lee,” 2025; “Les Misérables,” 2012; “Mamma Mia!,” 2008; “Mean Girls,” 2004; Oscar nominee, supporting actress, “Mank,’ 2021), Sydney Sweeney, Elizabeth Perkins, Brandon Sklenar and Michele Morrone in the Psychological Thriller.

A struggling woman (Sydney Sweeney) is hired as a housemaid for an affluent couple. The screenplay is based on the 2020 best-selling novel of the same title by Frieda McFadden.

“The SpongeBob Movie: Search for SquarePants,” MPA rated PG; 1 hour, 36 minutes. Derek Drymon directs the animation and the voice talents of Tom Kenny (SpongeBob), Clancy Brown, Rodger Bumpass, Bill Fagerbakke, George Lopez, Ice Spice, Regina Hall and Mark Hamill (Flying Dutchman) in the Swashbuckler Comedy.

SpongeBob journeys to the ocean’s depths to face the Flying Dutchman’s ghost. It’s the fourth SpongeBob feature movie, after “Sponge on the Run” (2020), based on the TV series.

“Is This Thing On?,” MPA rated R; 2 hours, 4 minutes. Bradley Cooper directs Will Arnett, Laura Dean Andra Day, Sean Hayes, Amy Sedaris, Christine Ebersole, Peyton Manning and himself in the Comedy Drama.

As their marriage unravels, Alex faces middle age and divorce, seeking new purpose in the New York comedy scene.

“David,” MPA rated PG; 1 hour, 55 minutes. Phil Cunningham and Brent Dawes direct the animation and the voice talents of Phil Wickham, Brandon Engman, Asim Chaudhry, Lauren Daigle and Adam Michael Gold in the Family Drama Musical distributed by Angel Films.

From his mother’s songs to his clash with Goliath, David’s journey from humble shepherd to anointed king tests the limits of faith, courage and love.

Movie opening dates from Internet Movie Database as of Dec. 14 are subject to change.

Five Popcorn Boxes out of Five Popcorn Boxes

This movie review column is dedicated to Rob Reiner (1947-2025) and his wife Michele Singer Reiner (1989-2025), a Shakespearean “All In The Family,” “Stand By Me,” “When Harry Met Sally,” “The Princess Bride,” “Misery,” “A Few Good Men,” “The Story Of Us,” “And So It Goes,” “Being Charlie,” “Shock and Awe,” ”Spinal Tap II: The End Continues” real-life tragedy if there ever was one.