“BARBIE! BARBIE!”
“When I say ‘Bar’, you say ‘Bie’! Bar-Bie’”
-actual young teen boys at my screening.
Categories
Barbie (2023)
Tag: Lady Bird
Except for the fact that it was a classic book that had been remade numerous times over the decades, my knowledge of Little Women was practically nil. Of course, as a kid, I would rather have been reading Robin Hood, Frankenstein, or Tom Sawyer over a book with a title clearly meant for the female audience. This left me entering the newest adaptation of Louis May Alcott’s beloved book mystified as to what I would experience, though I had some hopes since it was directed (and adapted) by Oscar nominee Greta Gerwig.
The result was, to say the very least, surprisingly heart warming, as Gerwig and the knockout cast deliver to both newbies (like me) as well as fans. While I may be wrong on some of the characters and their relationships, I will do my best (thankfully, there was an older couple two seats down the aisle from me, and I could here the woman explaining things to her husband.) The film is told in two separate times, seven years apart. The earlier days is during the civil war, where we meet the four march sisters. They are Jo (Saoirse Ronan, teaming up again with Gerwig after their 2017 film Lady Bird), Meg (Emma Watson), Amy (Florence Pugh), and Beth (Eliza Scanlen).
Their father is off serving the North in the Civil War, so they try to make the best of things alongside their mother, Marmee (the wonderful Laura Dern). We also meet their neighbor, Mr. Laurence (the ever reliable Chris Cooper) and his grandson Theodore, aka “Laurie” (Timothee Chalamet, also from Lady Bird). And, of course, let us not forget Aunt March, played by Meryl Streep. There are many actresses who can proclaim they are “not always right, but are never wrong.”, but can you think of any you would want to have say that over Streep?
As is the case with all siblings (not just sisters), there is love, envy, forgiveness, resentment, and mischief. This is mainly shown in the earlier time, since the sisters are younger and less mature. Each sibling has their own unique strength: Meg (who I believe is the eldest) is drawn to the theater. Jo is a writer of stories. Amy is a painter. Beth is musically inclined on the piano. A good chunk of the film is how each sister (especially Jo) realizes that growing up means going down different roads. As Meg states,
“Just because my dreams are different than yours, it doesn’t mean they’re unimportant.”
They also have their different character traits as well (which I can only assume is true to the original material). While Meg and Beth are on the gentler side (especially Beth), it is Jo and Amy who are more head strong, which could explain why both are having feeling for Laurie. Jo herself states how she is amazed she was not born a boy. Even so, she is still prone to show her vulnerability.
One of the best examples of this is toward the end of the film, when Jo is talking to her mother about love (one of countless scenes of nearly impeccable acting). When asked if she loves a certain character, Jo responds,
“I care more to be loved. I want to be loved.”
Marmee responds,
“That’s not the same as loving.”
As humans, we are all looking for love. As children, we look towards our parents (or guardians). As we get older, we enter the stage of wishing for a significant other (once we realize cooties are not actually a thing.) Yet we realize that actual love is not a one way street: relationships don’t work if the love is not reciprocal.
Jo also has a moment of trying to defy God (which is an action that sums her character up in detail). While caring for a sick family member, Jo is told,
“We can’t stop God’s will.”
Jo responds,
“Well, God hasn’t met my will yet. What Jo wills shall be done.”
Regardless of where we are in our walk with God, we have all tried to defy God and/or his will at one point or another. This is one of the most raw forms of pride we possess. Of course, when we have a loved one who is sick, injured, or depressed, we feel bad for them as well as ourselves. It is when we start thinking along the lines of “Well God, if you won’t do anything, then I will!” that we start going down the wrong path.
All the performers make their mark, but the two that stand out are Saoirse Ronan and Florence Pugh. As of this writing, both of their awards buzz has died down a little, but I would still not at all be surprised if they heard their names when the Oscar nominations are announced.
Perhaps the best part of the film, however, is how Gerwig (who clearly has a great film making career ahead of her) adapted the story. She balances the classical nature of the story with the right amount of contemporary energy that makes the film seem almost like a relic, yet still relatable.
Parents, this may be the family holiday movie that you don’t know your family actually needs (though I can see young boys not wanting to see this.) It is rated PG, mainly for the thematic elements. There is no swearing or violence, and only two kisses I can remember. I would guess a girl of any age would heart this film.
Little Women does have moments were it tends to drag on a bit, but very few times: I was basically enthralled the whole time. When you think of it, making this film was very risky. A PG family movie with mainly a female lead cast, no action or songs (basically, a film not steered by the Mouse House). Yet that does not take away from the films morals of life, heartbreak, romance, and all the little things in between. As one character states,
“Morals don’t sell nowadays.”
Little Women is nothing short of a delight.
Overall:
Ladies and gents, this is the moment you’ve waited for.
I went back and forth as to whether make the traditional top ten, or go with twenty. I decided on the latter for a few reasons. First, in a great year for movies, there were too many to ignore (and even at twenty, films such as Wonder Woman, Detroit, Mudbound, and Darkest Hour did not make it). Second, so what if I added more than ten? If you really want see just the top ten, here is a trick: skip down to number ten, and go from there (though you will be missing a lot of great films along the way).
20.
A passion project for director/actor James Franco, The Disaster Artist tells the tale of another passion project (and cult favorite), The Room. Franco is so wonderful in the role of the aloof Tommy Wiseau that it goes beyond comedy and becomes very human. It truly tears you apart!
19.
Renowned screenwriter Aaron Sorkin’s directorial debut, Molly’s Game, is full of electricity. As always, his dialogue snaps like fire crackers, no doubt due to the wonderful casting of greats such as Jessica Chastain and Idris Elba.
18.
The most recent film I have seen as of this writing, Faces Places is the unique documentary about legendary french film maker Agnes Varda and her friend JR (whose eyes she has never seen). They go around meeting people as they post big pictures of their subjects on vast walls. As in all great films, it goes far beyond that. It reminded me a lot about Errol Morris’s masterpiece, Gates of Heaven.
17.
Even with an all-star cast including Channing Tatum, Adam Driver, Hillary Swank, Seth Macfarlane, and (especially) Daniel Craig, a film like Logan Lucky could have gone wrong on so many levels. Thankfully, the script is so tight that every moment is real, authentic, and down right ludicrously hilarious.
16.
A prime example of a movie you either love or hate, I am on the former when it comes to Star Wars: The Last Jedi. No, we did not get any “answers” to questions we may have had, but so what? It was a Star Wars film that gave us new twists and turns we had not seen before, plus was much better than the overrated Rogue One.
15.
From one sci-fi sequel to another, Blade Runner 2049 is full of a lot of questions that are also unanswered. What no one will question is the gorgeous scope of the film, thanks in part to cinematographer Roger Deakins (who may finally get his Oscar now).
14.
In one of the best years for superhero films, my pick still goes to Logan. A swan song of epic proportions, Hugh Jackman truly goes out swinging. Or clawing.
13.
Even if the film was rushed, Steven Spielberg’s The Post has a fire burning in the soul, which shows in the cast led by Hollywood giants Meryl Streep and Tom Hanks. It is a movie that, had it not been made, I would not be reminded of the right I have to be typing these words in the first place.
12.
How wickedly devilish is the film I, Tonya! So fun, and self-aware of itself, it gives a stellar Margot Robbie performance, and heaven knows how wonderful Allison Janney is as one of the worst mom’s in recent cinema history.
11.
As Miguel tugs at the guitar strings, so does Coco tug at our heart-strings. Which, by now, is totally the standard Disney/Pixar films have set for all animated films (and others in general).
10.
One of the most original scripts in recent memory, Greta Gerwig’s Lady Bird is full of outstanding wit and charm. It is also more proof why Saoirse Ronan is truly one of the best actors of her generation.
9.
Of all the movies I saw this year, I fought the hardest (okay, fought myself) for Wonder to be in the top ten. Based of the book of the same name (which I highly recommend), this wonderful fable of why it is important to #choosekind is something I cannot imagine parents not taking their kids to.
8.
Very few, if any, director has a current positive track record than Christopher Nolan, and Dunkirk is no exception. Packed with more than enough tension and grit, it is as fitting a war film as they come.
7.
At only around an hour and a half, few films of this (or any) year have given me more questions than that of A Ghost Story. Like a pool, you soak in it, look at the reflection, and see all the questions you want answered. Multiple viewings are needed, and are something I plan to do in the time I have left on earth.
6.
Another one of the most original scripts in years, Three Billboards Outside Ebbing, Missouri is a tough sit through at many times. Yet it has so much dark peppered humor and spot on performances (mainly McDormand, Woody Harrelson, and especially Sam Rockwell) it is hard to turn away.
5.
The true story of how one man met his wife, The Big Sick is still the best rom com I have seen in nearly a decade. All the actors are hilarious and convincing, and the writing is top-notch. I still can’t get over that 9/11 joke.
4.
I had never thought of what could be outside the walls of Disney World before I saw The Florida Project. I doubt I am alone. With some of the best acting from children you will see, and a sublime Willem Dafoe, the movie takes us to a place that has been under the shadows of Disney for far too long.
3.
Like most, I had to wait nearly a month before I could see Phantom Thread, but it was far worth the wait. Daniel Day-Lewis gives (no surprise) a perfectly majestic performance as a dress-maker in 1950s London, whose new muse (Vicky Krieps) must put up with him. Director Paul Thomas Anderson treats the film as gentle as the fabric that Woodcock works with in his shop.
2.
Of all the love stories of this year, my favorite still goes to that of a mute help worker and a sea creature in The Shape of Water. Guillermo Del Toro gives us a world of endless possibilities, filled with memorable characters (don’t get me started on how much we love to hate Michael Shannon here), astounding visuals, and a love that is not easy to forget.
1.
I can imagine a lot of people being surprised at my number one pick, but after more than one viewing, I just could not deny IT. Undoubtably one of the top four or five adaptations of Stephen King, the film is far more than a horror masterpiece. It is also about coming of age (I have yet to meet anyone who though negatively of the kid performances, all of whom are perfect in their roles), young love, bullying, and, of course, clowns.
Floating has never been so terrifying. Or enjoyable.
Nothing else to say 