The thieves with the “Romeo and Juliet” of our contemporary era may never have had the same time as “Romeo and Juliet”. Although it's been 29 years since Baz Luhrmann's modern alternative to the pop era "Romeo + Juliet" , the long drama has recently begun some creative re-format. We are seen as 2021's "R#J" as a social media discovery film, while 2022's "Rosaline" turns the third-level character into an influential protagonist in the wings of a Star Cross-Border Lovers. Over the past year, we've seen a minimalist, starring Tom Holland, Tony Holland and Tony nominated versions, which include Jack Antonoff's music.

Nevertheless, just because the source material cannot extend, it does not automatically make all of these adaptations good, even memorable. Sadly, this is the case with "Juliet and Romeo". Adaptation writer director Timothy Scott Bogart ("Spin Gold") stabbed hundreds of years of text, renovating it into a pop singer's musical musical music, minus the original Iambic Pentecost, personality and poignant beauty. Improper development, poorly executed, and no indelible musical numbers for us to slap our toes, this "La la Land" - Wannabe plays the story of a bard, which makes you feel frustrated and bored.

When we first meet the titular protagonist, it is Verona in 1301, with a daunting peace treaty between two warring families: Lord Montagu (Jason Isaacs) and Lord Lopt Paclet (Rupert Everett and Rebel Wilson). Capulets' daughter Juliet (Clara Rugaard) just returned home from boarding school, annoyed her cousin and friend Rosaline (Tayla Parx), who vaguely warned her about the troublesome situation that would affect her future. As Mercutio (Nicholas Podany) feels the need to prove himself to his adoptive father, the Montags are also dealing with some family conflicts but fall in love with Commoner Veronica (Martina Ortiz Luis), while biological son Romeo (Jamie Ward) seeks to do whatever it can to rebel.

Romeo and Juliet have a lovely opportunity at the night market under the moonlight, but neither of them realize who the other is, even though they both have family gang colors. When they figured it out, they were already obsessed with smooth feet on alleys and church benches and wandering around the catacombs. But fate hurts them, and it is the introduction of Lord Paris (Denis Andres) at the party of Juliet’s parents when her grumpy cousin Tybalt (Ferdia Walsh-Peelo) discovers Romeo. The only thing the lovebirds can do is hope that Flar Lawrence (Derek Jacobi) and the pharmacist (Dan Fogler) can help them.

The amateur operation is frustrating from the start, trying to mimic the fantasy of a storybook by booking movies by using page-turning page graphics and expo-prose narratives. The score feels comprehensive and always exists. A suit of original pop songs created by Bogart's brothers Evan Kidd Bogart and Justin Gray doesn't inspire whimsical, imagination or fascinating joy. These sequences are cut into pieces instead of music video styles, masking the choreography and stening the emotional impact. But it is recognized as adorable when lovers fall in love while singing and falling in love, literally rolling into a shopping cart full of hay.

Narratively, Bogart messes up the sequence of events by getting married before Capulet Ball and adjusts the climax in a familiar way, purely for sequel bait. He also added filler songs for characters who don’t need to perform numbers, but thanks to their lineage, it’s expected to have a song. This throws out a dynamic momentum and tone. But imagine that if you didn’t sing Fogler, it was the anger of singing in his lab, or the croo-cherishing of Wilson, not giving a female national anthem that waving women to the castle.

For anyone not called Romeo, Juliet or Mercutio, there is a lack of proper role development. Bogart overhauled the conversation, seasoning the proceedings with some key phrases from the drama, but was incredibly reluctant to provide internal or external motivation to support Rosaline, the nurses (Sara Lazzaro), Versante (LEDSI) and many of the men on the Romeo team. So when they all start to swing their notes and raise their eyes toward the sky in mean musical numbers, we scratch our heads and explain why they are included in this chorus.

Fortunately, this rote product has not suffered from withering. There is additional value in using real Italian locations in movies. Although the actors seem to be pre-recorded tracks synchronized on the lips, their hot breaths hang in the cold air to make their performance good as they sing ballads in the corridors of these real suits. Dante Ferretti's original production design helped immerse us in that era. Rugaard and Ward share a sweet chastity chemistry that fascinates us as much as possible. Plus, Podany enhances depth and size in subtle aspects of the character edge.

There are better iterations of the Bogart and Company’s ideas, waiting to be fully realized – combining stronger original tracks with Shakespeare’s story. Considering recent products, maybe we will get the perfect version in due course. But, for the moment, in our preexisting choices, we can get more substantial and high ratings by reexamining Luman’s luxury work.