Review: "Ammonite" is an Enjoyably Quaint Love Story

Scene from Ammonite (2020)

For most of her life, Mary Anning (Kate Winslet) has lived a quiet life, focused on her work. As a paleontologist, she spends her life focused on the way that the world was, admiring the skeletal structures of animals imprinted onto rocks. It's a lonely world and one that not too many understand. Through Winslet's subdued performance, she captures the struggles of self-expression, unable to truly be happy around anyone. That is until she is forced to take care of Charlotte Murchinson (Saoirse Ronan) and finds passion starting to form. For the first time in her life, somebody cares about her, bonding over science and discovering deeply personal secrets that allow her to become more transparent.

Like most love stories, Ammonite has its fair share of goofiness that's hard to understand from the outside world. As someone who has been repressed, Mary reflects love as it blossoms, evolving from an idea into an emotion,  becoming this sweet story of love. Ronan has rarely been more vulnerable as an actress, managing to convey a strong emotional range that shows how these two complement each other. Their journey may be quaint and the endless minutes of watching them study paleontology may seem strange, but it's ultimately endearing. The story may be much too quaint at times to be a masterpiece, but it's got enough going for it that the audience buys into every smile, every sacrifice they make for each other. It's love as something formative, and the joy in these moments is the infectious heart of the film, where loneliness stops being the unbearable reality and Mary (and the audience) find something greater waiting ahead.

Every Best Picture Nominee of the 2010's Ranked: #20-24

Scene from Django Unchained

As 2019 reached its end, another decade of cinema had passed. It's amazing to think about how things have evolved since 2010 when the biggest controversies were about recognizing genre movies. Things look different now, especially as genre films like The Shape of Water and Parasite are winning Best Picture and the voting body looks incredibly different with each passing year. With this period in the books, it feels like a good time to celebrate their accomplishments by ranking all 88 titles nominated for Best Picture from worst to best with the goal of seeing which films are more likely to stand the test of time. Join me every Saturday and Sunday as I count them down, five at a time. It's going to be a fun summer looking back on what was, especially as we prepare for the decade ahead and an even more interesting diversity that we haven't even begun to think of.

Every Best Picture Nominee of the 2010's Ranked: #25-29

Scene from Roma (2018)

As 2019 reached its end, another decade of cinema had passed. It's amazing to think about how things have evolved since 2010 when the biggest controversies were about recognizing genre movies. Things look different now, especially as genre films like The Shape of Water and Parasite are winning Best Picture and the voting body looks incredibly different with each passing year. With this period in the books, it feels like a good time to celebrate their accomplishments by ranking all 88 titles nominated for Best Picture from worst to best with the goal of seeing which films are more likely to stand the test of time. Join me every Saturday and Sunday as I count them down, five at a time. It's going to be a fun summer looking back on what was, especially as we prepare for the decade ahead and an even more interesting diversity that we haven't even begun to think of.

Wes Anderson Tells a Winding Story in "The French Dispatch" Trailer

Scene from The French Dispatch

Over his past few films, it feels like director Wes Anderson has perfected the art of getting your hopes up for the next Oscar season. Who could forget how The Grand Budapest Hotel released its first trailer on the heels of the 2015 Academy Awards, or how Isle of Dogs made 2018 feel like it would be a better year for animation? Well, it looks like he's outdone himself by dropping a trailer within the week following this year's ceremony. Just as everyone is wrapping up their thoughts on Parasite's historic win, Anderson is here to remind you that cinema is an evolving art form and that soon there will be a new class to talk about. With The French Dispatch, he adds his name to the 2020 prognostication early, making one excited to see his latest crowded fare look like another masterpiece that's going to dominate the conversation.

How Florence Pugh Got Us to Care About Amy March

Scene from Little Women (2019)

If one was to talk about Louisa May Alcott's "Little Women" prior to the Greta Gerwig-directed adaptation, there would be one common refrain: Amy March is the worst March sister. This isn't up for debate. The internet is littered with articles claiming that the youngest sister was somehow a character not worthy of sympathy for a variety of reasons including (but not limited to) burning Jo's manuscript and stealing Laurie away from Jo. It's all a bit vindictive when looked at through Alcott's prose, but what Gerwig has done is something that no other adaptation has been able to do. Not only is it grappling with the themes of women being in charge of their own narrative, but it's also in some ways course-correcting the public conversation around the characters by contemporizing them, adding an emotional depth to the relationships that secretly make it bolder than even the equally beloved 1994 adaptation.

As much attention is once again thrown onto Jo, audiences have become enraptured with Amy this time around, and it's easy to see why. There is something to seeing her played with vulnerability the way that Florence Pugh has, giving layers to a role that's easy to write-off as flat and villainous. After all, she is in some ways piggybacking off of Jo's achievements. She is the least sympathetic role because of this. What Pugh does is add depth to the character by making her decisions not come from a place of malice, but sometimes out of a desire to be a great artist and never getting the respect she deserves. After all, Jo wants it too but thinks "it sounds crass when she says it." Already it's finding ways to take that comment and explore how the public has agreed with that statement, even when they really shouldn't.

Composing Greatness: #2. Oscars 2020 Edition - "Little Women"

Scene from Little Women (2019)

Welcome to a very special edition of Composing Greatness. In this limited series, I will be looking at the five scores nominated for this year's Best Original Score category. To avoid favoritism, the list will be done in alphabetical order of composers and feature the same guidelines as the original series. This is meant to explore the music behind the great films of 2019, and provide insight into what makes each of them special and whether or not they deserved to be nominated at all. Join me all week as I listen to the music, leave some thoughts, and hopefully sway you to check out these wonderful, wonderful scores.

Review: "Little Women" Defies Expectations with Brilliant Warmth

Scene from Little Women (2019)

The opening of director Greta Gerwig's adaptation of Little Women may sound familiar to those who know a thing or two about Louisa May Alcott. The writer famously had certain conflicts to resolve when publishing the second half of her best-selling novel about The March Sisters. There had to be certain fulfillments that all contemporary publishings had at the time. The most noteworthy was the choice that all female protagonists needed to be either married or dead, and Alcott wasn't having any of that. Still, it was 1868 and the only way to get her work published was to submit to these wills. As a result, later audiences may be confused by what the final chapters hold for spinster archetype Jo March. While the novel was a masterpiece, it was one representative of its time in these respects, showing that while it was about women finding their own agency, they still had to overcome the male-dominated world, where they decided what passed as socially acceptable.

It's why the choice to open the 2019 film as Jo is submitting to the Weekly Volcano (over halfway through the novel) feels like the right way to go. As Alcott's surrogate, it feels like a moment for Gerwig to finally address something that Alcott couldn't. Within her quietness as Mr. Dashwood (Tracy Letts) edits her story to fit his wants, there's a sense that this was how the real-life author dealt with criticism. No matter what she found interesting, there was a man to tear her down. That is the journey of The March Sisters, and every woman in the 19th century in a time where they couldn't own anything and thus needed to find a reason to live. It is why Little Women resonates as more than adaptation. It's one that openly engages with what the text is saying, and even questions it as it relates to Alcott's personal journey to publishing the book. It's metatextual without being cloying, it's empowering without feeling false, and it's incredible in its small achievements. While there may be more direct adaptations, none have addressed why the book continues to be important over 150 years later quite like Gerwig, who to make this film almost feels like the final act of revolt against Mr. Dashwood's critical eye. Everyone watching is laughing at him, even if the conflict still feels prescient in modern culture. 

The Trailer for "Little Women" (2019) Sets Its Sights on Oscar Glory

Scene from Little Women (2019)

In 2017, Greta Gerwig made a significant breakthrough in her career from the world of indie cinema to Oscar darling with the teen comedy Lady Bird. It was a touching story that also became one of A4's highest grossing movies and set the bar for future Saoirse Ronan performances as well as making Gerwig the first female Best Director nominee since 2009's Kathryn Bigelow (The Hurt Locker). It raised a question as to how she would follow-up her critically acclaimed film. Well, it turned out to be the Oscar play that many would clamor for, as she's become the latest person to adapt Louisa May Alcott's "Little Women" to the big screen with some of the best young actresses of the modern era. After much anticipation, the trailer is here, and there's plenty to love about the Christmas season already.

A24 A-to-Z: #58. "Lady Bird" (2017)

Scene from Lady Bird

In case you didn't know, A24 is one of the great purveyors of modern cinema. Since 2013, the studio has found a way to innovate independent cinema by turning each release into an event. As a result, A24 A-to-Z will be an ongoing series that looks at every release from the studio by analyzing its production history, release, criticisms, and any awards attention that it might've received. Join me on a quest to explore the modern heroes of cinema by exploring every hit and miss that comes with that magnificent logo. They may not all be great, but they more than make A24 what it is and what it will hopefully continue to be for ears to come.

Failed Oscar Campaigns: "The Lovely Bones" (2009)

Saoirse Ronan in The Lovely Bones

As awards seasons pick up, so do the campaigns to make your film have the best chances at the Best Picture race. However, like a drunken stupor, sometimes these efforts come off as trying too hard and leave behind a trailer of ridiculous flamboyance. Join me on every other Saturday for a highlight of the failed campaigns that make this season as much about prestige as it does about train wrecks. Come for the Harvey Weinstein comments and stay for the history. It's going to be a fun time as I explore cinema's rich history of attempting to matter.

Here's My Pre-Season Oscars Predictions

Scene from Roma

With the start of September, it only feels right to enjoy the final naive days of Oscar season by playing the game every prognosticator loves to do: predict. Speaking as many films haven't so much as appeared on the radar yet, these columns are always ridiculous and antiquated, mostly going based off of what's popular in September. With that said, why not take chances and try to make bold predictions, of which might come true? The following is my attempt to predict the six top categories, including all four of the acting fields. What will make the final cut? Come back in a few months when I'll compare these to whatever makes the cut. I assure you that it may end up being a worthwhile laugh after a busy, hard fought season of more unpredictable achievements. 

Long Shot Week: Best Picture - "Lady Bird"

Scene from Lady Bird

Welcome to the first Long Shot Week, where I will attempt to persuade you to think outside of the Oscar box. While it's too late to change voters' minds, I believe that audiences need to take a moment to look at the other contenders in any category and give them a chance. Long Shot Week is designed as a way to highlight these talents that likely don't stand a chance of winning, but more than deserve a chance to be appreciated for what they bring to the game. In a way, this is my list of "Films that should've won," though it's not always indicative of my favorite. Join me all week as I look at different categories and pose the question "Why not?" in hopes that The Oscars still have a few surprises up their sleeve.

"Lady Bird" is Officially the Highest Rated Movie on Rotten Tomatoes

Saoirse Ronan in Lady Bird

For those who haven't heard, director Greta Gerwig's film Lady Bird is good. If you trust my opinion, I would say it's best of the year good. Many people have been clamoring onto it in recent weeks, and it has gained some serious traction during awards season as well with many predicting a third Oscar nomination for lead Saoirse Ronan. For those that don't believe the phenomenon of this indie darling, one simply needs to check the box office and critical stats. Lady Bird has grossed over $10 million without playing yet on more than 800 screens. As of today, it also is the highest rated film in Rotten Tomatoes history. Some may disagree on how good it actually is, but the numbers have given it a rare achievement, and one that is worthy of celebration.

Review: "Lady Bird" is a Funny, Touching Ode to Youthful Doubt

Scene from Lady Bird

Lady Bird is a rare achievement. It's a movie about what it means to be Catholic in the 21st century. While there isn't a shortage of films in which God is prayed to (see also: Silence), director Greta Gerwig has tapped into something personal to uncover a more accurate reality. These aren't people who live their life by the church, but whose faith is so indebted to their identity that it informs every small decision they make, including the familiar teenage rebellion. Lady Bird, played by Saoirse Ronan, is about to finish high school with dreams of going to a New York liberal college. With fraught relationships to her parents, she finishes the last year of school with a series of memorable experiences. They may not be the most overt faith-based details in any recent film, but they feel the most truthful. Lady Bird is a film that understands how youth and identity plays into the bigger picture, and Gerwig's excellent debut is all the better for it.

The First "Lady Bird" Trailer Shows Greatness in a Potential Oscar Charmer

Saoirse Ronan in Lady Bird

The time is officially upon us. With film festivals starting to crop up, the Oscar season is starting to take shape, and A24 isn't without a few candidates. Among their big pushes is for the directorial debut of Greta Gerwig called Lady Bird, starring two time Oscar nominee Saoirse Ronan. It has already gotten plenty of positive buzz, especially for its ability to tell a compelling story centered around women. The first trailer has officially dropped and it looks to be a delightful return to the Oscar circles for Ronan while Gerwig will hopefully get her first ever (and long overdue) nomination. If nothing else, it looks to be a delightful coming of age story with a feisty central performance full of rich humor.

Birthday Take: Saorise Ronan in "Brooklyn" (2015)

Saoirse Ronan in Brooklyn

Welcome to The Birthday Take, a column dedicated to celebrating Oscar nominees and winners' birthdays by paying tribute to the work that got them noticed. This isn't meant to be an exhaustive retrospective, but more of a highlight of one nominated work that makes them noteworthy. The column will run whenever there is a birthday and will hopefully give a dense exploration of the finest performances and techniques applied to film. So please join me as we blow out the candles and dig into the delicious substance.

Irish Immigrant Movie "Brooklyn" to Be Made into TV Spin-Off

Scene from Brooklyn

There is a good chance that you have seen director John Crowley's sweet new film Brooklyn. In fact, you probably have if you are an Oscars purist who wishes to see everything that was nominated in a given year. With three nominations, including Best Picture and Best Actress for star Saoirse Ronan, the film has proven to be an endearing crowd favorite as it follows a young Irish girl traveling to America in the 1950's. However, there's one thing that is likely to please fans of the film: there is a planned TV series to spin-off pretty soon. From the same production company that brought us the film comes a series that is expected to follow a memorable supporting character as she deals with her own life in New York. The one catch? Ronan has not yet announced any plans to be involved with it.

Review: "Brooklyn" is a Light But Endearing Vehicle for Saoirse Ronan

Scene from Brooklyn

The story of the immigrant is one that has long been muddled in typical dramatic flourishes. In films like The Godfather Part II, the story is only the set up for characters experiencing the American Dream. It's one that's fraught with tension of class struggles, racial division, identity issues, and economic problems. The story is itself the basis for a lot of great fiction. In the case of director John Crowley's Brooklyn, the immigrant story looks a little different through the eyes of the Irish lass named Ellis (Saoirse Ronan). There are struggles, but are something more emotional to character than society. It's a story about the quest for acceptance in 1950's New York, whose overrun streets and metropolitan environment causes even the smallest of things to feel overwhelming. While it's not a film with gravitas and thoroughly challenging plot beats, it's one that captures a sweet and sentimental side of the equation that will please those looking for something lighter during this Oscar season.

Theory Thursday: "Hanna" (2011) is Joe Wright's Best Movie

Saoirse Ronan in Hanna

Welcome to a weekly column called Theory Thursdays, which will be released every Thursday and discuss my "controversial opinion" related to something relative to the week of release. Sometimes it will be birthdays while others is current events or a new film release. Whatever the case may be, this is a personal defense for why I disagree with the general opinion and hope to convince you of the same. While I don't expect you to be on my side, I do hope for a rational argument. After all, film is a subjective medium and this is merely just a theory that can be proven either way. 

Birthday Take: Saoirse Ronan in "Atonement" (2007)

Saoirse Ronan

Welcome to The Birthday Take, a column dedicated to celebrating Oscar nominees and winners' birthdays by paying tribute to the work that got them noticed. This isn't meant to be an exhaustive retrospective, but more of a highlight of one nominated work that makes them noteworthy. The column will run whenever there is a birthday and will hopefully give a dense exploration of the finest performances and techniques applied to film. So please join me as we blow out the candles and dig into the delicious substance.