Released in theaters on June 20, 2025, Juliet & Romeo is a daring reimagining of William Shakespeare’s most iconic tragedy, reinterpreted through the lens of a lavish musical fantasy. Directed and written by Timothy Scott Bogart, the 2025 film trades in iambic pentameter for original pop songs, elaborate costumes, and a sweeping story set in 1301 Verona. Starring Clara Rugaard as Juliet and Jamie Ward as Romeo, with a supporting cast that includes Rebel Wilson, Jason Isaacs, Rupert Everett, and Derek Jacobi, the film attempts to give the age-old story a YA twist while embracing an unapologetically theatrical style. In this Juliet & Romeo movie review, we explore how this colorful 2025 film reimagines the classic tale for a modern audience—sometimes successfully, sometimes not.
Genre:Drama, Musical, Romance
A Familiar Story, Rewritten with Rhythm
Verona Reimagined
The core beats of Shakespeare’s original remain: feuding houses, forbidden love, secret unions, and tragic consequences. But Bogart’s version opens with a political backdrop involving Rome’s attempt to unify the fractured Italian territories, with the Montagues and Capulets each vying for dominance. The historical detail adds flavor, but the emotional focus remains on the two young lovers caught in the middle of an ancient grudge.
The film kicks off when Juliet returns home from boarding school, only to learn she’s expected to marry Lord Paris (Dennis Andres). Meanwhile, Romeo struggles with the burden of being a disappointment to his father, Lord Montague (Jason Isaacs), who favors the charismatic Mercutio (Nicholas Podany). It’s amid this tension that Romeo and Juliet meet—and the story, both familiar and newly imagined, begins.
Pop Music Replaces Prose
Songs That Sparkle—And Some That Don’t
In place of Shakespeare’s poetry, Juliet & Romeo delivers a full musical experience with original songs by Evan Kidd Bogart and Justin Gray. The score aims for the catchy, crowd-pleasing energy of The Greatest Showman, with tracks like “Better Than This,” “I Should Write This Down,” and “Streets on Fire” offering fun, if fleeting, earworms.
The musical numbers are hit or miss. Some inject the scenes with humor or emotion, such as Dan Fogler’s delightfully oddball apothecary ballad or Mercutio’s energetic fight anthem. Others—especially the lovers’ ballads—lack the emotional heft or melodic memorability that might carry the weight of a central romance. Still, when the songs hit, they hit with style.
Clara Rugaard and Jamie Ward Lead with Charm
Young Love in Bold Colors
Clara Rugaard and Jamie Ward bring sincerity and sweetness to their roles, even when the material around them falters. Rugaard, in particular, offers a grounded and thoughtful Juliet—her longing for freedom, identity, and love plays out with restraint and intelligence. Ward, more subdued, imbues Romeo with the classic youthful angst and idealism the role demands.
Together, they have an easy chemistry. Their romantic scenes—particularly a moonlit escapade through Verona’s catacombs—are charming, and their duet during a hay-cart tumble is one of the movie’s most whimsical highlights. They may not command the screen with the gravitas of Shakespearean theater, but in this pop-fantasy version, their performances resonate.
An Ensemble That Elevates the Spectacle
Bogart assembles an impressive supporting cast that includes Rupert Everett as a commanding Lord Capulet, Jason Isaacs as the scowling Montague, and Rebel Wilson in a more subdued Lady Capulet. Though some roles feel underused—Wilson’s comic potential, in particular, seems restrained—they lend a gravitas and charisma that helps fill out the world.
The true standout is Derek Jacobi as Friar Lawrence. With his classical training and comic timing, Jacobi elevates every scene he's in. His duet with Dan Fogler’s apothecary is as gleefully bizarre as it is memorable, reveling in the musical’s campy tone.
Visual Splendor with Stagecraft Roots
Costumes, Sets, and Cinematic Stage Flair
One of the film’s strongest elements is its visual presentation. Shot in actual medieval castles and towns across Italy, the setting lends authenticity to the fantastical proceedings. Production designer Dante Ferretti leans into rich textures and saturated colors—blue for the Capulets, red for the Montagues, and gold to signal transition and power.
Costume designer Luciano Capozzi creates a visual feast with velvety gowns, embroidered tunics, and armor that reflect the characters’ inner lives and allegiances. The aesthetic feels both Renaissance-inspired and distinctly theatrical—closer to Broadway than historical realism—and that’s by design.
The film borrows heavily from stage sensibilities. Musical choreography by Jeff and Rick Kuperman combines contemporary movement with period style, though the camera often cuts too quickly for audiences to fully appreciate the dance work.
A YA Romance with a Twist
Love Rewritten
One of the more interesting ideas in Juliet & Romeo is the use of poetry as a metaphor for falling in love. When Romeo and Juliet meet, their speech literally shifts into rhyming verse—highlighting how love transforms even language. It’s a clever concept, albeit underused. Had the screenplay committed further to this device, the film could’ve explored more meaningful intersections between form and feeling.
Still, this version reframes the central romance with more agency—especially for Juliet. She is no longer simply a pawn in a marriage plot, but an active participant in her fate, with clearer motivation and a stronger voice.
The story culminates in a third-act twist that reimagines the iconic tragedy in a bold and divisive new way. While purists may balk, the film’s choice to flip the script opens the door for sequels—and offers a rare glimmer of hope in an age-old tale of doom.
Where the Film Misses the Mark
While Juliet & Romeo dazzles in moments, it stumbles in others. The dialogue, stripped of Shakespeare’s eloquence, occasionally falls flat, leaning into modern slang that feels out of place in the period setting. The plot also introduces political subtext—feuding noble houses caught between religious and imperial powers—that never fully pays off.
Some characters, particularly the ensemble of Rosaline, Benvolio, and Tybalt, receive limited development. Their arcs hint at deeper stories but are sidelined in favor of musical numbers or plot convenience. Likewise, not all songs feel earned, and a few moments of musical whimsy come at the expense of narrative cohesion.
Final Verdict – An Entertaining, If Imperfect, Pop Musical for the TikTok Generation
Juliet & Romeo (2025) isn’t a faithful adaptation of Shakespeare’s tragedy—and it doesn’t try to be. Instead, it’s a vibrant, sometimes chaotic, always earnest musical fantasy aimed at a young, modern audience. It embraces spectacle, heart, and creative reinterpretation, even when it occasionally stumbles over its own ambition.
For fans of genre mashups, musicals with big swings, and inventive (if uneven) Shakespeare riffs, Juliet & Romeo delivers an experience that is more fun than refined. It’s not a definitive Romeo & Juliet, but it’s a remix with passion, color, and potential.
Rating: ★★★☆☆ (3/5)