Grand Theft Hamlet will have a limited theatrical release on January 17.
Grand Theft Hamlet is, without question, a unique experiment. Directed by Sam Crane and Pinny Grylls, the documentary chronicles their bold attempt to stage Shakespeare’s Hamlet entirely within the virtual realm of Grand Theft Auto Online during the COVID-19 lockdowns. The execution lands more towards underwhelming than groundbreaking, sadly.
The film is a time capsule of the peak pandemic era, when people were searching for connection in unconventional spaces, and it effectively highlights how online gaming platforms can foster genuine community and creativity. The filmmakers use the anarchic open world of GTA Online as a stage for the Bard’s iconic tragedy, sometimes seriously, sometimes comedically. As a proof of concept, Grand Theft Hamlet works well, as its entirely shot within the servers of the game.
However, as a documentary, it struggles to captivate. Much of the narrative is aimless, and the emotional weight of the production is diminished by the staged nature of several scenes. While some level of orchestration is expected, the overly perfected moments detract from the authenticity the creatives are striving for. It’s hard to shake the feeling that certain aspects are more performative than genuine, even when the real voices behind the avatars discuss their real world troubles.
Grand Theft Hamlet is a mixed bag. There’s a charm to watching a ragtag assortment of players from around the world see the casting call for a GTA Hamlet and signing up to read Shakespearean dialogue as their in-game personas. Points for being so inventive, but the experiment can only get you so far.
I give Grand Theft Hamlet a B-.
TV and City 