“I want to be great, or nothing.” This defining line from Louisa May Alcott’s 1868 novel Little Women has become a catchphrase of American literary feminism, repeated out of context, embroidered onto pillows, and championed nearly to the point of losing all meaning.
The sentiment, first delivered by Alcott’s Amy March in regards to her skills at a painter, rings particularly hollow when you consider its place in the countless film, television, and stage adaptations of Little Women that have come since its first publication. These retellings, like so many adaptations of classic novels, have rarely striven for that artistic greatness Amy speaks of—they’ve by and large been pale, sentimental imitations of what a great story looks like, designed to print cash and appease the period piece crowd, i.e. women. Aside from Gillian Armstrong’s hit 1994 film, you’d be hard-pressed to find a Little Women as vital as the original.
That is, until Greta Gerwig came along. The writer-director behind Lady Bird and Frances Ha has been emphasizing the value in quotidian stories about young women throughout her short filmmaking career, and her talents and interests have found a perfect home in Little Women. Lively, ambitious, and deftly directed, Gerwig’s adaptation takes both its subjects and audience seriously, building its own kind of greatness that extends far beyond the power of the original text. It doesn’t attempt to overwrite Alcott’s story with modern feminism, but rather highlight how the joys and struggles of her characters have persisted across time. Filled out by an exhilarating ensemble cast, Gerwig’s Little Women is the best we’ve ever seen this story—and it’s one of the best films of the year.
Continue reading “Greta Gerwig's Vibrant, Ambitious 'Little Women' Reinvents Itself”
It is what it is.
You’ve probably seen at least ten best of the decade lists by now and you think, Really? Another one?. Well we knew you’d say that so we thought we’d spice it up a bit. Instead of doing our usual “Best of …” format which usually includes ten to fifteen films ranked based on our individual lists, we are doing individual lists only. We felt that this way, we could present you with a more diverse list of films. We asked fourteen critics, academics and programmers to list their top twenty-films of the decade and write about their #1.But we still wondered if we made a big list, what would be our #1? What film was it that showed up on the list again and again? What film, to us, really captured the essence of this decade? The last ten years have been defined by loss, financial ruin, and anxiety about what world the next generation is going to inherit. But it’s also been a decade where seeds of revolution were planted, and the rise of social movements by people not afraid to fight the powers and systems that have become goliaths. Darkness rises, and light to meet it.
Much Ado About Cinema’s favourite film of the decade is Mad Max: Fury Road. Enjoy and happy new decade! Continue reading “Best Films of the Decade”
As Janet Jackson would say, Hustlers is a story about control. Jackson’s voice literally carries that message over the film’s first scene—her 1986 empowerment hit “Control” bumps through the elite Manhattan strip club where Constance Wu’s Destiny is trying to learn the ropes and take back her life. This pairing of song to scene is brass and unsubtle, but why shouldn’t it be? Hustlers knows it’s brass and unsubtle, and it knows exactly how to blend these elements, otherwise limiting in the wrong hands, into a dangerous concoction too delicious to resist.
This cocktail of fun and energy and star power might trick you into thinking Lorene Scafaria’s latest film isn’t worth taking seriously, but you’d be dead wrong. Hustlers is big and uproarious, yes, but it’s also a for-fucking-real crime story with enough style, intrigue, and pinpoint emotional accuracy to compete with the films of Soderbergh and his ilk that have thus defined the ensemble heist genre. Thanks to the unique vision of women in control on both sides of the camera, Hustlers is a triumph—and one of the best films of the year.
Continue reading “TIFF ’19: ‘Hustlers’ Knows What the F*ck Is Up”
About halfway through the second spin of the merry-go-round camera that opens Waves, you start to get dizzy enough to look away. Some classic Tame Impala reverb bounces through the background, the blues and whites of the Florida sky glow unnaturally bright, and Euphoria sweetheart Alexa Demie hangs out her boyfriend’s car window, flashing a smile. It’s a 2019 film about teenagers, baby—if you didn’t know, now you know.
Waves writer-director Trey Edward Shultz isn’t afraid to dive headfirst into this bold style, accusations of parody and sameness be damned, and his commitment pays off. With Euphoria and Thunder Road cinematographer Drew Daniels by his side, Shultz delivers over two hours of consistently stunning visual narrative, each sequence challenging and creative, yet perfectly balanced and self-assured. These visuals mesh seamlessly with an electric score by Nine Inch Nails duo Trent Reznor and Atticus Ross, as well as an overloaded soundtrack of thumping Kanye and Frank Ocean tracks. It all leads you to believe Waves could be a great movie.
Continue reading “TIFF ’19: Family Epic ‘Waves’ Is a Visual Flood with Shallow Meaning”
Believe it or not, we are halfway through 2019. We’ve seen Brie Larson kick ass as Captain Marvel, we’ve witnessed the end of an era with Avengers: End Game, Julia Hart gave us a new kind of superhero film in Fast Color, Ari Aster has scarred us all with Midsommar, and Olivia Wilde has given us the teen comedy we’ve been waiting for with Booksmart. It’s already been a wild year for film, and we still have five months left. With that in mind, here is Much Ado’s favorite films of 2019 so far and why we love them.
Booksmart, dir. Olivia Wilde
‘The night to end all nights’ is a tagline often found attached to tales of raucous frat bros, to the pursuit of the loss of their virginities, and to their final evening of partying, which comes just before the dawn of adulthood. Rarely, in teen comedies that revolve around sex and physical frankness, is said semi-mythical night centered on two rather awkward high school girls. More often than not, it has been the boys in Superbad and American Pie that have not only been permitted but openly encouraged to discuss their sexual desires, appetites, and experiences without so much as a hint of a blush on their cheeks. In Olivia Wilde’s Booksmart, this kind of agency is transferred from the obnoxious characters found in the aforementioned teen classics and awarded to Amy (Kaitlyn Dever) and Molly (Beanie Feldstein): two friends on the eve of high school graduation, for whom discussion of Malala Yousafzai and intersectional feminism sits as comfortably in conversation as the topic of masturbation. After realising that they have spent their entire adolescence burying their heads in their studies — in a fruitless attempt to gain the upper hand over their popular peers in search of places at prestigious universities — Molly and Amy decide that they must embark on the wildest evening of all if they are to truly ‘experience’ teenage-hood. And thus, absurdity, wild goose chases, and chaotic sexual encounters ensue.
Continue reading “Much Ado’s Best Films of 2019 So Far”
Pending the inevitable collapse of global society and destruction of all recorded music as a result of oil wars and climate disaster, people will always love The Beatles. On the metaphorical Titanic that is this planet, the orchestra will play “Let It Be” as we sink. The end of the world as we know it is truly the only viable threat to the band’s legacy. But boy, does Yesterday give doomsday a run for its money.
A threateningly saccharine ransom letter of a movie, Yesterday takes the Fab Four hostage and asks us to imagine a world in which they never existed, except in the mind of one struggling musician. This premise is as silly and navel-gazing as a dorm room thought experiment, but silliness and experimentation alone never stopped anyone from making a good movie. In the hands of Danny Boyle and Richard Curtis, however, these elements have combined in their very worst forms, yielding a final product that is both odd and formulaic, sickly sweet and mean-spirited, drenched in pop culture yet utterly tasteless. By completely separating the music of The Beatles from the charisma, energy, and politics of the band itself, Yesterday fails to replicate even a hint of the magic that makes them so beloved.
Continue reading “Bizarre Rom-Com ‘Yesterday’ Takes The Beatles’ Legacy Hostage”
“You need to stop being such a pussy,” a prominent male TV writer tells Mindy Kaling’s hand-wringing newbie Molly Patel at a crucial moment in Late Night. “That was incredibly offensive,” Molly replies. “Well, it was also true,” he says.
This exchange got a big laugh from my preview audience, and although I didn’t find myself laughing along, I could see how every piece of the joke was carefully chosen to work: it points to the casual misogyny of the traditional writers’ room, prods at the easy-to-offend attitude of Molly and women like her, and settles on the idea that at the end of the day, they’re both probably a little bit “right.” Also, that “pussy” is a funny word.
Late Night is peppered with moments like this, moments where Molly tries to speak her mind, take up space, and go against the grain, but her male colleagues still get to land the punchline. They’re funny, and she’s pushy—probably because she was an amateur when hired, set up to fail. While I’d like to think this is entirely commentary on the existing dynamic in many writers’ rooms today (and certainly, this is the foremost “point” the movie tries to make—women don’t usually get a platform to be funny), I can’t shake the feeling that these jokes were written to please an audience that’s entirely comfortable with the status quo.
Continue reading “‘Late Night’ Has Something to Say, but Doesn’t Want to Cause a Scene”