The seventh adaptation of the beloved book, Little Women, directed by Greta Gerwig (Lady Bird), is the story of the four daughters of the March household, Jo (Saoirse Ronan; Brooklyn), Meg (Emma Watson; Harry Potter), Amy (Florence Pugh; Lady Macbeth), and Beth (Eliza Scanlen; Sharp Objects). Set during the civil war, each of the girls has their own ambitions, lives, and loves as they learn to become adults together.
Gerwig is able to create the warmth and care of a loving family. The young women are close in age and know each other incredibly well. The argue, tease, and tussle, but the depth of their genuine affection is clear. Even when they are petty, it’s impossible to overlook how much they love each other. They have all the inside jokes and goofy banter of people who have spent their lives together. Their closeness is also shown in their physicality. They walk arm-in-arm and seem to always be on top of each other. When they gather to hear a letter from their father, they sit closely together, locked in a familiar mutual embrace. The ease and comfort they feel around each other is palpable and it makes their bonds of sisterhood immediately believable.
The film repeatedly points out the gender inequality of the time. The girls, Jo in particular, all seem limited by the opportunities available and the expectations of social norms. They want to be independent, but there are precious few ways for women to support themselves. Furthermore, the idea of an independent women is itself controversial. While Gerwig is direct with this message, it isn’t excessive or detrimental to the narrative. The limitations are encountered naturally and, sadly, often feel more relevant to the modern world than we would like. Meryl Streep (The Devil Wears Prada) appears as the unmarried elderly aunt that attempts to conform their behaviors to society. Her acting feels artificial, as usual, but she serves to demonstrate how different the leads are from most women of their time. All the March girls are strong female characters, but Gerwig deserves special praise for allowing each to be strong in their own way. Too often media will prescribe a single notion of what a Strong Female CharacterTM means to the exclusion of many. The girls here have different desires from fame to companionship to motherhood and each is presented with equal care and respect.
In her second outing as director, Gerwig has once again proven herself a formidable talent. She deftly controls the large cast of characters, often in scenes featuring dozens of performers, and does so while still giving each lead their own personality and enough opportunity to develop. She is a sensitive and empathetic director with affection towards all her characters. They are all imperfect, but flaws are not judged, only accepted as part of being human. Even when characters act impulsively or selfishly, they are still eminently lovable. Gerwig has created a warm, empathetic adaption of a classic story with themes and messages that still resonate today.
4/5 stars.
After jokingly picking up plastic instruments at a birthday party for a friend’s child, an increasingly bitter 30-something married couple makes the unlikely decision to start a band together, using their fights as inspiration for their songs. Writer-director-star Zoe Lister-Jones and Adam Polly lead the band with some help on the drums from their strange neighbor played by Fred Armisen. The songs may be amateurish, but the performances are enthusiastic and the lyrics are relatable. As the band develops, so does the central relationship. The music-as-couple’s-therapy conceit brings playfulness to the film and their quarreling adds humor to each of the songs. The gradual rekindling and reevaluation of their romance through rock and roll is a heartwarming transition.
Darren Aronofsky (Requiem for a Dream) deserves some type of award. Not just for writing and directing this film, but for convincing a major studio to finance and distribute it in a wide release. Nothing about mother! screams mass appeal. This is the work of a filmmaker of extreme talent with the swaggering confidence and sufficient budget to attempt such a crazy endeavor. A woman (Jennifer Lawrence; The Hunger Games) lives in the countryside with her writer husband (Javier Bardem; No Country for Old Men) in idyllic peace until a fan knocks on their door. Before long the house descends into chaos as droves of unwanted guests commandeer her space, becoming increasingly rabid for her husband’s approval. Interpretations range from ecological damage to biblical stories to the insatiable ego of an artist but what remains constant is the sheer skill needed to pull something like this off. mother! a mesmerizing, dizzying, often frantic film that could only be made by a director with Aronofsky’s originality and mad ambition.
It’s hard to think of a film that turns an unsettling premise into such a joy to watch. Without spoiling the setup (it’s better to not know before viewing), James (Kyle Mooney; Saturday Night Live) rejoins his family as an adult and is obsessed with Brigsby Bear, a TV show that only he has had access to. His parents encourage him to reintegrate with society, but fandom remains his highest priority. With no more episodes being developed, he decides to create a movie that will be Brigsby’s final chapter. Instead of ridiculing James’ unrealistic goals, the film takes every opportunity to support him. Characters band together around his infectious enthusiasm and childlike wonder. As James embarks on his journey, his naivete and confusion about the norms of society provide an endless source of humor. Mooney’s effervescent charm permeates every frame of the film. It’s a counterpoint to our cynical times that is bursting with genuine exuberance and unbridled optimism.
Greta Gerwig (Damsels in Distress) could not have had a more auspicious debut than this. Her first film as a solo writer-director draws on her own experiences growing up in Sacramento and follows Lady Bird (Saoirse Ronan; Brooklyn) in her last year of high school. The fiercely independent daughter of an equally strong-willed mother (Laurie Metcalf), Lady Bird struggles to find her place in her hometown. She drifts through different social groups, boyfriends, and arguments with her mother. As a young woman trying to define herself, Ronan captures the conflicted, confused teenage experience and Gerwig is completely in tune with her difficulties. She separates her film from other teen stories by examining not only Lady Bird, but an entire home (including her mother, father, and brother) in transition. She views these characters as equally important and shows how each is simultaneously facing their own life altering challenges. Her ability to balance multiple plotlines and see the greater context of each character’s arc make this one of the best coming-of-age movies in recent memory.
Despite being my top pick for last year, this may be the most idiosyncratic choice on this list. Terence Davies’ biopic on the life of Emily Dickinson will not be for everyone. It’s slow moving with the elaborate, often flowery dialogue of the period and makes no attempt to build to a traditional climax. Rather, the film presents Dickenson’s adult life in deeply sympathetic detail. Cynthia Nixon (Sex and the City) delivers a career defining, nuanced performance as the great poet.
