JAY KELLY, the new film from Academy Award nominee Noah Baumbach, follows famous movie actor Jay Kelly (George Clooney) and his devoted manager Ron (Adam Sandler) as they embark on a whirlwind and unexpectedly profound journey through Europe. Along the way, both men are forced to confront the choices they’ve made, the relationships with their loved ones, and the legacies they’ll leave behind.
The teaser trailer features “Jay Kelly Theme,” an original score by Nicholas Britell.
The cast includes George Clooney, Adam Sandler, Laura Dern, Billy Crudup, Riley Keough, Grace Edwards, Stacy Keach, Jim Broadbent, Patrick Wilson, Eve Hewson, Greta Gerwig, Alba Rohrwacher, Josh Hamilton, Lenny Henry, Emily Mortimer, Nicôle Lecky, Thaddea Graham, Isla Fisher, Louis Partridge, Charlie Rowe.
JAY KELLY opens in select theaters November 14 and on Netflix December 5.
And now the topper to one of this movie year’s biggest trends. Sure, we’ve had comic book superheroes, action tentpoles, and even a couple of flicks based on TV shows. But who knew that 2023’s box office would be “turbo-charged” by “toy stories”. No, I’m not speaking of Woody and Buzz. No, we started the year with a horror hit based on a phony toy that’s not named Chuckie, M3GAN. Then came the true story “spy-like” thriller about the creation of the video game TETRIS (I consider it a toy, so nyah). the stakes were raised considerably by another pixel powerhouse, THE SUPER MARIO BROTHERS MOVIE, followed by a new Transformers entry (also in that “action tentpole” category). And now, at last, “the queen” has arrived. Yes, the perennial princess of the toy department shelves comes to the big screen (after a slew of “straight-to-video” releases and a few TV shows), and she looks fabulous at age 64 (cue the Beatles ditty). Of course, she’s “pretty in pink”. (Imagine Ed McMahon or Nicholson in THE SHINING) Herrre’s BARBIE!
After a terrific nod to a cinema classic via a prologue narrated by Helen Mirren (you may have caught it in an early teaser), we’re whisked away to the wondrous realm of “Barbieland”. In the prettiest of the pink houses lives “stereotypical” Barbie (Margot Robbie), who is just beginning her day. After floating into her convertible, she cruises through the town to wave good morning to the other Barbies, even President Barbie (Issa Rae). Oh, and she’s greeted by the “spin-off” toys, Skipper, Midge, and the awkward Allan (Michael Cera). Finally, we’re at the beach for a visit from the adoring but dim Ken (Ryan Gosling), who’s thrilled to see Barbie but furious at his rival, another Ken (Simu Lui), along with assorted other Kens. But he still gets an invite to Barbie’s big nighttime “rager”. But the singing and dancing are nearly derailed when Barbie warbles a lyric questioning her mortality. This “glitch” continues into the next day, when Barbie endures several odd occurrences like “morning bad breathe” and, to everyone’s disgust, “flat feet” when she steps out of her stylish high heels. Confiding in her Barbie BFFs, they implore her to seek help from “weird” Barbie (Kate McKinnon). Her prognosis: Barbie’s “human” handler isn’t “playing” with her “correctly”. And so Barbie must venture into the “real world” and find her. The trip gets ‘trippier” when Ken “stows away” in her car. The duo is in for a wild journey as they deal with a woman named Gloria (America Ferrera) who works at the doll HQ Mattel. She’s a dream compared to her snarky pre-teen daughter Sasha (Ariana Greenblatt) and the excitable CEO (Will Ferrell). But all this pales to the radical “rewiring” of Ken himself, a personality change that threatens all the denizen dolls of Barbieland.
Could there be a more perfect casting choice than Robbie in the title role? Ten years ago she almost set movie screens afire as the “trophy wife” in THE WOLF OF WALL STREET, but she was intent on being more than “eye candy”. Robbie has forged an impressive movie resume, carefully juggling dramatic and comedic roles. In this story, she really gets to showcase those skills. Sure Barbie is bubbly and perky, but we see her confusion as the dark thoughts seem to engulf her. Robbie expresses that panic as she is overwhelmed by the chaos of the “real world”. She’s more than up to the challenge, bouncing from zany comedy to getting her first pangs of heartache. Perfectly balancing her pathos is the inspired comic performance of Gosling. He’s grabbed laughs before in CRAZY STUPID LOVE and LA LA LAND, but here he totally gives himself over to the buffoonish antics of the ultimate “himbo”, Ken. Yet, for all his goofy behavior, there’s a child-like charm to him. Gosling somehow holds on to that even after Ken has a much different reaction to “reality”.Speaking of that “setting”, Ferrera as Gloria is the story’s real dramatic “anchor” as the adult “human” who still has a sense of wonder about Barbie, but is hardened to the ways of society, highlighted in her rousing monologue about what the world expects of her gender (a riveting “throw down the gauntlet” moment). Greenblatt as her daughter Sasha makes her more than a cliched surly movie teen. Sure she’s wanting to “spread her wings”, but we see how Sasha still yearns to be on an adventure with Mom, even beginning to admire and respect her. The film also benefits from the supporting work of several comic vets. Ferrell is still a manic “man-child” as the exec, but he never “takes over” the tale with shrill slapstick and makes his character more than the “suit villain”. McKinnon makes great use of her loopy, off-kilter persona as the Barbie “who’s been played too much”, giving her a zany “sing-song” line delivery and using a near-marionette ‘floppy” body language and movement (almost like a certain scarecrow). Cera also has lots of fun with his nerdy screen image earning chuckles every time he’s awkwardly waving at the “first string toys”. I won’t spoil the identity of her role, but it’s terrific to see Rhea Perlman as a warm, nurturing mystery woman.
Huzzaah to director Greta Gerwig for delivering an impressive solo directing hat trick, building on her terrific work on LADY BIRD and LITTLE WOMEN to give us this intelligent fantasy farce that’s also a keen social satire. I must mention that she also co-wrote this with Noah Baumbach (a fabulous filmmaker himself and her spouse). Bravo for addressing the many criticisms and controversies swirling around the iconic toy over the last few decades, using them to lay out a clear message of female empowerment, while never lecturing. Rather than having Barbie and her pals dashing around and evading the “people” ala the TOY STORY flicks, they venture among with almost no secrecy, making the story a “switcheroo” on THE WIZARD OF OZ with a pinch of SPLASH. Plus it really has fun with the history of the toy franchise as we meet characters who never really “caught on” while making playful jabs at the “product powerhouse”. Oh, did I mention the eye-popping visual treats, some that come close to the spider-verses? Barbie’s “suburban subdivision” recalls so many of the “big box” playsets with her closet resembling a full-scale “fashion accessory” flat box. Yes, the fashions are great ‘call-backs” to the classic looks, especially that black and white striped one-piece swimsuit in the opening prologue. The pace is breezy and bouncy thanks to a wonderful soundtrack of pop standards and hilarious original tunes. Now some of the themes and subplots may go over the heads of the youngest viewers, but those with memories of lazy afternoons creating adventures for the characters will really get a real nostalgic euphoria along with subtle societal parody. Really this is a great time at the movies, perfect for the Summer. And to paraphrase the old ad line from Mattel, BARBIE…it’s swell!!
Don’t miss out on the the pinkest movie of the year when BARBIE opens in theaters nationwide on July 21, 2023. But wait! To live in Barbie Land is to be a perfect being in a perfect place. Unless you have a full-on existential crisis. Or you’re a Ken.
The Advance Screening is on July 18, 7pm at The Alamo Drafthouse (6PM Suggested Arrival Time)
The screening will be filled on a first come first served basis, so we encourage you to arrive early. Seats will not be guaranteed. Rated PG-13
From Oscar-nominated writer/director Greta Gerwig (“Little Women,” “Lady Bird”) comes “Barbie,” starring Oscar-nominees Margot Robbie (“Bombshell,” “I, Tonya”) and Ryan Gosling (“La La Land,” “Half Nelson”) as Barbie and Ken, alongside America Ferrera (“End of Watch,” the “How to Train Your Dragon” films), Kate McKinnon (“Bombshell,” “Yesterday”), Issa Rae (“The Photograph,” “Insecure”), Rhea Perlman (“I’ll See You in My Dreams,” “Matilda”), and Will Ferrell (the “Anchorman” films, “Talladega Nights”). The film also stars Michael Cera (“Scott Pilgrim vs. the World,” “Juno”), Ariana Greenblatt (“Avengers: Infinity War,” “65”), Ana Cruz Kayne (“Little Women”), Emma Mackey (“Emily,” “Sex Education”), Hari Nef (“Assassination Nation,” “Transparent”), Alexandra Shipp (the “X-Men” films), Kingsley Ben-Adir (“One Night in Miami,” “Peaky Blinders”), Simu Liu (“Shang-Chi and the Legend of the Ten Rings”), Ncuti Gatwa (“Sex Education”), Scott Evans (“Grace and Frankie”), Jamie Demetriou (“Cruella”), Connor Swindells (“Sex Education,” “Emma.”), Sharon Rooney (“Dumbo,” “Jerk”), Nicola Coughlan (“Bridgerton,” “Derry Girls”), Ritu Arya (“The Umbrella Academy”), Grammy Award winning singer/songwriter Dua Lipa and Oscar-winner Helen Mirren (“The Queen”).
Gerwig directed “Barbie” from a screenplay by Gerwig & Oscar nominee Noah Baumbach (“Marriage Story,” “The Squid and the Whale”), based on Barbie by Mattel. The film’s producers are Oscar nominees David Heyman (“Once Upon a Time…in Hollywood,” “Marriage Story,” “Gravity”), Robbie (“Birds of Prey,” “Promising Young Woman,” “I, Tonya”), Tom Ackerley (“Promising Young Woman,” “I, Tonya”) and Robbie Brenner (“Dallas Buyers Club”), with Gerwig, Baumbach, Ynon Kreiz, Richard Dickson, Michael Sharp, Josey McNamara, Courtenay Valenti, Toby Emmerich and Cate Adams serving as executive producers
Gerwig’s creative team behind the camera included Oscar-nominated director of photography Rodrigo Prieto (“The Irishman,” “Silence,” “Brokeback Mountain”), Oscar nominated production designer Sarah Greenwood (“Beauty and the Beast,” “Anna Karenina”), Oscar-winning costume designer Jacqueline Durran (“Little Women,” “Anna Karenina”), editor Nick Houy (“Little Women,” “Lady Bird”), visual effects supervisor Glen Pratt (“Paddington 2,” “Beauty and the Beast”) and music supervisor George Drakoulias (“White Noise,” “Marriage Story”), with a score by Oscar winners Mark Ronson and Andrew Wyatt (“A Star Is Born”), who also contributed to numerous songs on the film’s soundtrack. The soundtrack includes an impressive roster of today’s hottest music artists, including Lizzo, Dua Lipa, Nicki Minaj & Ice Spice with Aqua, Charli XCX, KAROL G feat. Aldo Ranks, Tame Impala, Dominic Fike, HAIM, The Kid LAROI, Khalid, PinkPantheress, GAYLE, Ava Max, FIFTY FIFTY and more.
Warner Bros. Pictures Presents a Heyday Films Production, a Lucky Chap Entertainment Production, an NB/GG Pictures Production, a Mattel Production, “Barbie.”
BARBIE THE MOVIE might be hitting theaters this summer, but today we have this first look at the new posters and second trailer for the film that’s sure to be a splash!
To live in Barbie Land is to be a perfect being in a perfect place. Unless you have a full-on existential crisis. Or you’re a Ken.
From Oscar-nominated writer/director Greta Gerwig (“Little Women,” “Lady Bird”) comes “Barbie,” starring Oscar-nominees Margot Robbie (“Bombshell,” “I, Tonya”) and Ryan Gosling (“La La Land,” “Half Nelson”) as Barbie and Ken, alongside America Ferrera (“End of Watch,” the “How to Train Your Dragon” films), Kate McKinnon (“Bombshell,” “Yesterday”), Michael Cera (“Scott Pilgrim vs. the World,” “Juno”), Ariana Greenblatt (“Avengers: Infinity War,” “65”), Issa Rae (“The Photograph,” “Insecure”), Rhea Perlman (“I’ll See You in My Dreams,” “Matilda”), and Will Ferrell (the “Anchorman” films, “Talladega Nights”). The film also stars Ana Cruz Kayne (“Little Women”), Emma Mackey (“Emily,” “Sex Education”), Hari Nef (“Assassination Nation,” “Transparent”), Alexandra Shipp (the “X-Men” films), Kingsley Ben-Adir (“One Night in Miami,” “Peaky Blinders”), Simu Liu (“Shang-Chi and the Legend of the Ten Rings”), Ncuti Gatwa (“Sex Education”), Scott Evans (“Grace and Frankie”), Jamie Demetriou (“Cruella”), Connor Swindells (“Sex Education,” “Emma.”), Sharon Rooney (“Dumbo,” “Jerk”), Nicola Coughlan (“Bridgerton,” “Derry Girls”), Ritu Arya (“The Umbrella Academy”), Grammy Award-winning singer/songwriter Dua Lipa and Oscar-winner Helen Mirren (“The Queen”).
Gerwig directed “Barbie” from a screenplay by Gerwig & Oscar nominee Noah Baumbach (“Marriage Story,” “The Squid and the Whale”), based on Barbie by Mattel. The film’s producers are Oscar nominee David Heyman (“Marriage Story,” “Gravity”), Robbie, Tom Ackerley and Robbie Brenner, with Michael Sharp, Josey McNamara, Ynon Kreiz, Courtenay Valenti, Toby Emmerich and Cate Adams serving as executive producers.
Gerwig’s creative team behind the camera included Oscar-nominated director of photography Rodrigo Prieto (“The Irishman,” “Silence,” “Brokeback Mountain”), six-time Oscar-nominated production designer Sarah Greenwood (“Beauty and the Beast,” “Anna Karenina”), editor Nick Houy (“Little Women,” “Lady Bird”), Oscar-winning costume designer Jacqueline Durran (“Little Women,” “Anna Karenina”), visual effects supervisor Glen Pratt (“Paddington 2,” “Beauty and the Beast”), music supervisor George Drakoulias (“White Noise,” “Marriage Story”) and Oscar-winning composer Alexandre Desplat (“The Shape of Water,” “The Grand Budapest Hotel”).
Warner Bros. Pictures Presents a Heyday Films Production, a LuckyChap Entertainment Production, a Mattel Production, “Barbie.” The film will be distributed worldwide by Warner Bros. Pictures and released in theaters only nationwide on July 21, 2023 and beginning internationally on July 19, 2023.
Noah Baumbach, the director whose previous films include dramas like THE SQUID AND THE WHALE, offers audiences an absurdist comic fantasy with WHITE NOISE. In WHITE NOISE, a couple played by Adam Driver and Greta Gerwig live in a pleasant bubble of late 20th century clueless consumerism in a small idyllic-looking college town, until trouble comes to town.
Jack Gladney (Driver) is a college professor and his present and fourth wife Babette (Gerwig) is a stay-at-home mother raising their three children from previous marriages and a toddler of their own. It is the era of station wagons (the family vehicle fav before the minivan that had its peak in the ’70s), and the town is celebrating the parade of family station wagons bearing students like the return of swallows to Capistrano.
Jack’s best buddy Murray (a wonderfully funny Don Cheadle) is a fellow college professor at College on the Hill, where Murray lectures about the profound meaning of car crashes in movies, his area of academic study. Driver’s character’s equally weird field of study is “Hitler studies,” which seems to be Hitler trivia, although he is deeply embarrassed that he does not actually speak German. The family’s idyllic suburban life circles around what’s for dinner, little family kerfuffles, and modest ambitions for career advancement. At night, the couple share their deepest wishes in life, which for each, is to die before the other, because they can’t go on without the other.
The Gladney family goes about its quiet life, stressing over career advancement and a host of petty concerns, until a massive cloud of toxic gas threatens their leafy little town. Still they do nothing until the thing is right on top of them, which finally sends them scrambling.
Absurdism is at the forefront from the beginning in this ambitious film, which the director adapted from Don DeLillo’s 1985 novel. Baumbach’s script keeps the novel’s 3-part structure, although there are changes. WHITE NOISE provides some hilarious moments as well as a few insightful, even profound, ones on its journey, but ultimately, it does not completely come together as effectively as it might have.
This disaster movie chapter is followed by one that is more crime thriller. Along the way, the story deals with life, death, love and religion, sometimes in surprising, creative ways. Still, everything ends up at the supermarket, with a delightfully nutty sequence as the credits roll.
Adam Driver is the central character in this mad tale, but Greta Gerwig gets her moments too, as a parody of the classic ’80s movie wife. However, Don Cheadle, at his charismatic best, tends steal the scenes he is in. All the cast provide nice performances but this profoundly weird stuff.
Part of that weirdness is that the couple seems to live a fantasy time period, one of suburban serenity that is mostly the station-wagon loving, consumerism-heavy mid-1970s, although other story elements suggest it is the ’80s and other elements draw on the ’90s, in a kind of late 20th century stew.
The indeterminate time period actually works pretty well for the film. Greta Gerwig’s character sports the frizzy ’70s hair but wears loose rolled cuff pants of the ’90s. The family shops at the A&P grocery store, a vanished chain that was the original “supermarket” store featuring an array of goods and produce, where they are surrounded by old corporate brand names like Tide detergent and Frosted Flakes cereal in bright, candy-colored, neon-lit stores.
This absurdist satiric tour of late 20th century suburbia, and the mass market movies it spawned, touches on a number of real human concerns. While it does have its entertaining moments and even deeper moving ones, as a whole it does not really gel. In the end, maybe the title says it all – a noise that blocks out distractions from reality.
WHITE NOISE in now playing in select theaters and starts streaming on Netflix beginning Friday, December 30.
Nominated for six Academy Awards, including Best Picture, Greta Gerwig’s fresh, unique and modern adaptation of the timeless Louisa May Alcott masterpiece LITTLE WOMEN comes home on Digital March 10 and Blu-ray™ and DVD April 7 from Sony Pictures Home Entertainment.
The
Blu-ray, DVD and digital releases will take viewers even deeper into the beloved
story of Jo, Meg, Amy and Beth with over 45 minutes of fascinating bonus
features. See how Writer/Director Greta Gerwig led this modern adaptation of a
literary classic with a magnificent new cast, incredible art direction,
elaborate costumes, set pieces and how she took inspiration from the real-life
Orchard House where Louisa May Alcott lived and wrote LITTLE WOMEN.
Writer-director
Greta Gerwig (Lady Bird) has crafted a LITTLE WOMEN that draws on
both the classic novel and the writings of Louisa May Alcott, and unfolds as
the author’s alter ego, Jo March, reflects back and forth on her fictional
life. Gerwig’s take on the beloved story of the March sisters—four young women each
determined to live life on their own terms—is both timeless and timely.
Portraying Jo, Meg, Amy and Beth March, the film stars Saoirse Ronan, Emma
Watson, Florence Pugh and Eliza Scanlen, with Timothée Chalamet as their
neighbor Laurie, Laura Dern as Marmee and Meryl Streep as Aunt March.
In
addition to earning the praise of critics worldwide with a Rotten Tomatoes “Certified
Fresh” rating of 95%, the film has been honored with an Academy Award for Best
Costume Design plus five nominations including Best Picture, Best Writing
(Adapted Screenplay), and Best Music (Original Score). Saoirse Ronan’s
transcendent performance earned her a nomination for Best Actress in a Leading
Role, while Florence Pugh’s nuanced and insightful take on the character of Amy
earned her a nod for Best Actress in a Supporting Role. LITTLE WOMEN is only
the third Best Picture nominee in history to have been written, directed and
produced entirely by female filmmakers.
LITTLE
WOMEN has a runtime of approximately 135 minutes and is rated PG
for some thematic elements and brief smoking.
BLU-RAY, DVD AND DIGITAL
BONUS MATERIALS
A
New Generation of Little Women: The
superb cast recreated the beloved world of the March family with realism, humor
and vulnerability
Making
a Modern Classic: The film combines
its modern elements—kinetic camerawork and overlapping dialogue—with the historically
authentic bespoke costumes, sets and locations
Greta
Gerwig: Women Making Art: Go behind
the camera with Writer/Director Greta Gerwig, discover her process and how she
applied her own style to the story
Hair
& Make-Up Test Sequence: A lovely
showcase featuring the outstanding costumes, hair and make-up crafted for the
film
Little
Women
Behind the Scenes: Take a quick look
behind the scenes on the set of LITTLE WOMEN
Orchard
House, Home of Louisa May Alcott: Find
out more about Louisa May Alcott and visit the real-life Orchard House in
Concord, MA
CAST AND CREW
Director: Greta
Gerwig
Written By: Greta
Gerwig (based on the novel by Louisa May Alcott)
Producers: Amy
Pascal, Denise Di Novi, Robin Swicord
Executive Producers: Adam
Merims, Evelyn O’Neill, Rachel O’Connor, Arnon Milchan
Cast: Saoirse Ronan (Ladybird), Emma Watson (Beauty and the Beast), Florence Pugh (Midsommar), Eliza Scanlen (TV’s “Sharp Objects”), Laura Dern (TV’s “Big Little Lies”), Timothée Chalamet (Call Me by Your Name) with Chris Cooper (A Beautiful Day in the Neighborhood) and Meryl Streep (The Post)
Florence Pugh as Amy, Saoirse Ronan as Jo, and Emma Watson as Meg, in Greta Gerwig’s LITTLE WOMEN. Photo courtesy of Sony
The beloved classic “Little Women” has been made into so many film and television versions that it seemed inconceivable that a new version could offer anything fresh beyond a new cast. Yet writer/director Greta Gerwig (LADY BIRD) was able to just that with her LITTLE WOMEN, offering a fresh take that still honors the original, and even giving it a contemporary feminist twist by picking up on and bring forward elements that were always there.
Without a doubt, Gerwig’s LITTLE WOMEN
has a fabulous cast, with Saoirse Ronan as Jo, and Timothee Chalamet
as neighbor Laurie. Emma Watson take the role of Meg, Florence Pugh
has a breakout role as Amy and Eliza Scanlen plays Beth. Laura Dern
plays the girls’ mother Marmee, and Meryl Streep plays Aunt March.
But it is more than the dream cast that
sets this version apart. Rather than following the story
chronologically like every other version, Greta Gerwig mixes it up,
starting with a grown-up Jo trying to make it as a writer. The story
of the girls growing up in rural New England are presented as a
series of flashbacks, jumping back and forth in time, and returning
periodically to the story’s “present” with Jo navigating
the perils of publication. The story is so familiar that there is not
chance of being confused about when and where you are.
That refreshing tack also allows the other sisters to emerge in their own right, instead on only being supporting players to Jo, although she is still clearly the main character. Gerwig brings out depth to the sisters, and even rounds out the characters of Marmee and Aunt March, letting this remarkable cast really explore the various sides of their character.
The settings, costumes and locations
are of course delightful, and Gerwig’s decision to use Louisa May
Alcott’s actual childhood home as one of the locations was a
brilliant choice, adding to the film’s feeling of authenticity.
Everything looks beautiful and period-perfect, apart from a slightly
more disheveled Jo in the more formal settings than one would expect
in the circa-Civil War era.
The focus is on the girls, which Gerwig
uses to bring out feminist themes that are usually submerged in the
storytelling, although they were always there. Gerwig even takes that
another step by mixing the story of Jo with her creator Louisa May
Alcott, underlining the autobiographical elements of the story.
Repeatedly, Gerwig tweaks the way the story is told with still
preserving the heart of the source material. For example, Jo’s
professor friend Frederick is now played by a very attractive Louis
Garrel, rather than making him seem so much lesser an option than the
wealthy Laurie, helping balance the romance. One of the film’s
moments of magic blurs the line between Jo and Louisa, with the
writer negotiating with her publisher, played amusingly by Tracie
Letts, in a a comic but feminist highlight where she argues about
whether her main character needs to be married off.
Another magical scene has Jo and Laurie
dancing on the porch outside the ball going on outside, with a
wilder, more playful dance than they could get away with inside. The
scene is entertaining but also makes a point about Jo’s outsider
character.
Of course, this wonderful cast has a
lot to do with the success of this delightful film. Saoirse Ronan is
perfect as the independent, strong-willed, and slightly wild Jo. Emma
Watson brings out a warmth in Meg that is sometimes missed and Eliza
Scanlen taps into an other-worldliness beyond the usually-saintly
Beth. The real surprises are Amy and Marmee. Florence Pugh brings out
hidden layer in Amy, a character usually played as only silly,
shallow and pretty, drawing out her artistic ambitions and her
attempts to assert her individuality in the shadow of her brighter,
lively older sister. The portrayal is striking enough to be a
break-out for Florence Pugh, following up on her strong performance
in MIDSOMMAR. The marvelous Laura Dern also brings out hidden layers
in her role as Marmee, making her a fully-rounded character with her
own flaws and fears, rather than just the perfect mother to her
little women.
Gerwig’s script is another strength of
the film. She blends Louisa May Alcott’s own story with her
characters in a seamless and natural way. The male roles, even
Timothee Chalamet’s as Laurie, are a bit more in the background as
Gerwig focuses the story firmly on the women, little and otherwise.
It is bold and bracing choice, that helps connect these beloved
familiar characters with the present, in a pleasing and satisfying
way.
While every fan has their favorite
screen version of this story, Greta Gerwig’s excellent LITTLE WOMEN
is a strong contender to top many lists. LITTLE WOMEN opens
Wednesday, Dec. 25.
Want a delicious way to get a FREE pass to the new Wes Anderson movie “Isle of Dogs” before it opens in theaters?
Purchase a ticket to Tenacious Eats presents “Fantastic Mr. Fox” Brunch on Sun, March 18thhttps://m.bpt.me/event/3348535 .
Enjoy food inspired by the popular Wes Anderson film, and while you’re there, visit with some adoptable doggies from Gateway Pet Guardians! $15 from every ticket sold will go to their organization 🦊 and everyone in attendance will get a free pass to the “Isle of Dogs” advance screening!
ISLE OF DOGS tells the story of ATARI KOBAYASHI, 12-year-old ward to corrupt Mayor Kobayashi. When, by Executive Decree, all the canine pets of Megasaki City are exiled to a vast garbage-dump called Trash Island, Atari sets off alone in a miniature Junior-Turbo Prop and flies across the river in search of his bodyguard-dog, Spots. There, with the assistance of a pack of newly-found mongrel friends, he begins an epic journey that will decide the fate and future of the entire Prefecture.
Just a few weeks since SUBURBICON arrived at the multiplex (and just as it heads to the “second-run” theatres), another film directed by an actor opens. That’s about all that the two flicks have in common. The thespian behind the camera this time is the talented Greta Gerwig. At the start of the new century she was dubbed by many as the new “indie queen” with her performances in several quirky low-budget films (most shot in the NYC area). In the last decade or so she’s had small roles in studio films (JACKIE), but Ms. Gerwig’s heart seems to be with “underdog” cinema. On many of these projects she’s been stretching her creative muscles, first by writing many (two of her most acclaimed films were co-written with Noah Baumbach) and for one she co-directed with Joe Swanberg (NIGHTS AND WEEKENDS). This new release is her first (the first of many, it’s hoped) solo effort, directing and writing the coming of age comedy/drama LADY BIRD.
LADY BIRD is not a bio of LBJ’s wife, but it’s the name that 17 year-old Christine McPherson (Saoirse Ronan) has given herself (she signs her school papers with the moniker and insists that everyone address her by this name). We meet her on a road trip during her last high school Summer vacation. She and her mother Marion (Laurie Metcalf) are touring prospective colleges. Mom wants LB to sign up with a nearby community college (nothing more than an hour’s drive) while LB has dreams of an artsy’ East Coast college. But she’s got to finish high school first (she’s class of 2003), back at the Catholic girls’ school in Sacramento, California. Aside from rebelling against the nuns, particularly Sister Sarah Joan (Lois Smith), and hanging with BFF Julia (Beanie Feldstein), LB clashes with older brother Miguel (Jordan Rodrigues) and conspires with her pop, Larry (Tracy Letts) to apply for those far-away schools (Mom mustn’t know). When she finds out that the Fall musical will be a co-production with a nearby all-boys school, LB and Julia decide to “try out”. At the auditions, overseen by faculty director Father Leviatch (Stephen Henderson), LB is smitten with Danny (Lucas Hedges). Despite their class differences, Danny’s family is “well off” while LB insists she lives on “the wrong side of the tracks” (squarely middle class), the two begin an intense romance. As the year progresses, LB tries to climb the social ladder by befriending “queen B” Jenna (Odeya Rush), leaving Julia bewildered. Turns out that Jenna’s boyfriend is in a band, one that includes the oh-so-cool and hip Kyle (Timothee Chalamet). Will he, rather than Danny, be the “one”? And where will she go after high school graduation?
Hard to believe it’s been two years since her breakout starring role in BROOKLYN. Now Ronan can add another impressive lead role to her considerable resume. As a teenage girl on the cusp of adulthood, her Lady Bird is at times endearing, annoying, effervescent, and dreary. Capable of both sweetness and casual cruelty. Ronan effortlessly captures all the conflicting emotions and behavior of a young woman aching to break free, but often clinging desperately to her familiar surroundings. What a character and what an engaging performance. The same can be said for her steadfast supporter and sparring partner Metcalf as her harried mother. Marion’s the “tough” or “bad” parent who must bring LB’s flights of fancy down to Earth. She’s the one that worries about the bills when she’s not rushing off to her nursing job at the hospital (we must imagine the pressures there). Her sad eyes tells us that she has high hopes for the kids, but is filled with dread as the nest slowly becomes empty. Her silent drive around the airport speaks volumes without a bit of dialogue. As mother and daughter, they are one terrific team.
Plus these two are given ample support by an equally terrific troupe of veterans and screen newcomers. Celebrated playwright Letts turns in some great character work as the easy-going, “sad sack”(a touch of Willy Loman) papa with boundless faith in his little girl (along with tons of patience). Hedges follows up his astounding screen debut in last year’s MANCHESTER BY THE SEA with the sweet, open-hearted Danny (well, open to a point, as he hides a big part of himself from LB). Feldstein is heart-breaking as best pal Julie, whether she’s pining for her dreamy math teacher, or distraught over LB’s silent treatment. Chalament is superb as the dark, brooding hipster who is blithely unaware of his effect on LB. Great to see Smith commanding the screen as the nun who sees some of her youthful spirit in her charges. Henderson plays the theatre-loving Leviatch as a ball of barely contained emotion. And big kudos to Bob Stephenson who earns huge laughs as the replacement priest brought in to direct the Spring play in one of the funniest scenes in any film this year.
Of course this exceptional cast might flounder without the assured directing and near-perfect script from Ms. Gerwig. Though set in the not too distance past, its themes will resonate with anyone who recalls those heady, anxious days just before entering the “real world”. The heightened drama, when any slight or remark could be a major event (the whole “call me Lady Bird” quickly establishes the title character as oh so theatrical, along with that orange/magenta hair) is faithfully revisited. Even more truthful is the complex, perplexing mother/daughter dynamic with Marion and LB locked almost constantly in a war of wills, with the tension nearly smothering the love. Oh, and the whole backstage musical subplot is endearingly awkward. This work firmly establishes Gerwig as a great new film making voice. She makes LADY BIRD truly soar.
Focus Features has acquired international rights to Greta Gerwig’s acclaimed directorial debut Lady Bird, company chairman Peter Kujawski announced today. A24 and IAC Films are partners on the movie. Focus will be handling distribution in all territories outside of North America. Lady Bird has emerged as one of the biggest breakouts of the fall season, winning rave reviews from its screenings at both the Telluride and Toronto International Film Festivals. Scott Rudin, Eli Bush and Evelyn O’Neill are the producers.
“With Lady Bird, Greta has proven herself to be both a brilliant illusionist and a towering filmmaker. She tricks us into believing this is an intimate story about a specific character, time, and place until the culmination of the laughter and the tears makes you realize it’s actually a grand epic that is as universal, relatable and emotionally powerful as any story of mothers and daughters that has ever been put on film,” said Focus Chairman Peter Kujawski. “We couldn’t be more honored to team with Greta and our friends at A24 and IAC to share her incredible work with audiences around the world.”
In Lady Bird, Greta Gerwig reveals herself to be a bold new cinematic voice with her directorial debut, excavating both the humor and pathos in the turbulent bond between a mother and her teenage daughter. Christine “Lady Bird” McPherson (Saoirse Ronan) fights against but is exactly like her wildly loving, deeply opinionated and strong-willed mom (Laurie Metcalf), a nurse working tirelessly to keep her family afloat after Lady Bird’s father (Tracy Letts) loses his job. Set in Sacramento, California in 2002, amidst a rapidly shifting American economic landscape, Lady Bird is an affecting look at the relationships that shape us, the beliefs that define us, and the unmatched beauty of a place called home.
