For a tale that's been doing the rounds since 1597, the immediate question is why? What does it benefit the world to have yet another screen version of Shakespeare's immortal Romeo And Juliet? When this classical and rather overblown production falls at the heels of significant adaptations by Cukor (1936), Zeffirelli (1968) and Luhrmann (1996) the immediate answer is, not at all.

The well known story of warring families, star-crossed lovers, a plotting priest and tragic death is taken back to fair Verona by award-winning scribe Julian Fellowes (Gosford Park, Downton Abbey) and director Carlo Carlei, helming his first English language production. The result is luminescent, certainly. Douglas Booth has the modely good looks required of any young Romeo and stands out from the agreeable cast which surrounds him. Yet neither he nor his Juliet (Hailee Steinfeld – True Grit) are able to extract any substance from their roles which are by turn over produced and over familiar.

Where Luhrmann invested a radical reshaping of place and time, Carlei chooses to play it straight and to that end it is a sumptuous period experience by way of a 16th century hair commercial. Verona, its churches and palaces resonate an opulence that is distractingly eye-catching. Yet as soon as the camera wanders back to its lovelorn leads, matters grow decidedly leaden as they pine and whine in ways only the young and beautiful can do. It quickly becomes a wearisome experience made tolerable by Juliet's father (Homeland's Damien Lewis) and the meddling priest whose plans undo them all (Paul Giamatti - 12 Years A Slave). Kodi Smit-McPhee (Dead Europe) also adds some welcome texture as Romeo's right hand man.

That Fellowes and Carlie could render the greatest love story ever told into something so tired and trite is disappointing. For the 3% of cinema goers who have yet to see Romeo And Juliet, there might be something of interest here, although they'd be much better served by Cukor, Zeffirelli or Luhrmann.

// COLIN FRASER

Previewed at Dendy Newtown, Sydney, on 19 November 2013