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Kristy H (1252 KP) rated That Summer in Books
May 27, 2021
A touching and insightful look into the power of the past
On the surface, Daisy Shoemaker has the perfect life: a doting lawyer husband, a loving daughter, and her own cooking business. But underneath, she's full of doubts. Her husband is distant, her teenage daughter resentful, and her business--just something to keep her "occupied." Daisy's been receiving emails lately, meant for another woman named Diana, Daisy's given name. This Diana, a business consultant, seems glamorous and wealthy. When Diana invites Daisy to lunch, she impulsively says yes. But as the two form a friendship, Daisy starts to wonder if their connection was purely accidental. What exactly does Diana want from Daisy?
"For the last six months, Daisy had been receiving emails that she realized were intended not for her, but for the other Diana."
This is not a light and airy beach read, but a serious book that focuses in on the recent #MeToo topic. Much of the book doesn't even take place on the promised Cape setting. Does that mean it's not worth a read? Not at all. Weiner's constructed a compelling and heartfelt tale, with characters that pull you into the story. It feels a little reminiscent of some other #MeToo stories I've read recently, but I was still glued to the pages, wondering what had happened in Diana's past and how things would turn out for everyone.
There's a bit of a mystery here, but it's not too hard to figure out how everything pieces together. The real focus is the characters. We have Daisy, insecure and struggling in her marriage to Hal, a wealthy and arrogant man more than a decade older than her. It's clear Hal takes Daisy for granted--and that may be letting him off easy. Their daughter, Beatrice, was a favorite of mine: an original teen, with her own unique way of living her life. Beatrice's scenes stood out; she's a character I won't soon easily forget. We also have Daisy's brother, Danny, and his husband Jesse. And then there's the "other" Diana, who worms her way into Daisy's life. Can we trust her? Diana was a memorable character to me as well, along with someone close to her. (I don't want to say much more for spoilers.)
The book is told mainly from Daisy, Diana, and Beatrice's perspectives. It goes back and forth in time. It's a little confusing in the beginning, getting the timeline straight and how all the characters relate. Once I got that down, it was a fast read. Some of it may be a little predictable, but it's in turns sad, heartwarming, and funny. I loved Beatrice, as mentioned, and the dynamic between Daisy and Diana was well-written. Weiner does a good job of exploring how class and privilege relate to sexual assault (a definite trigger warning for rape in this story) and the repercussions of rape across individuals, families, and friends. She focuses, too, on the importance of accepting those you love for who they are, no strings attached.
Overall, I'm quite glad I picked this one up. Despite some of the vague familiarity to other #MeToo books, for the most part, it felt refreshing and interesting. It certainly held my attention and brought to light the important topic of rape and its aftermath. The characters here are well-drawn, and I'll always have a place in my heart for dear Beatrice. 4 stars.
"For the last six months, Daisy had been receiving emails that she realized were intended not for her, but for the other Diana."
This is not a light and airy beach read, but a serious book that focuses in on the recent #MeToo topic. Much of the book doesn't even take place on the promised Cape setting. Does that mean it's not worth a read? Not at all. Weiner's constructed a compelling and heartfelt tale, with characters that pull you into the story. It feels a little reminiscent of some other #MeToo stories I've read recently, but I was still glued to the pages, wondering what had happened in Diana's past and how things would turn out for everyone.
There's a bit of a mystery here, but it's not too hard to figure out how everything pieces together. The real focus is the characters. We have Daisy, insecure and struggling in her marriage to Hal, a wealthy and arrogant man more than a decade older than her. It's clear Hal takes Daisy for granted--and that may be letting him off easy. Their daughter, Beatrice, was a favorite of mine: an original teen, with her own unique way of living her life. Beatrice's scenes stood out; she's a character I won't soon easily forget. We also have Daisy's brother, Danny, and his husband Jesse. And then there's the "other" Diana, who worms her way into Daisy's life. Can we trust her? Diana was a memorable character to me as well, along with someone close to her. (I don't want to say much more for spoilers.)
The book is told mainly from Daisy, Diana, and Beatrice's perspectives. It goes back and forth in time. It's a little confusing in the beginning, getting the timeline straight and how all the characters relate. Once I got that down, it was a fast read. Some of it may be a little predictable, but it's in turns sad, heartwarming, and funny. I loved Beatrice, as mentioned, and the dynamic between Daisy and Diana was well-written. Weiner does a good job of exploring how class and privilege relate to sexual assault (a definite trigger warning for rape in this story) and the repercussions of rape across individuals, families, and friends. She focuses, too, on the importance of accepting those you love for who they are, no strings attached.
Overall, I'm quite glad I picked this one up. Despite some of the vague familiarity to other #MeToo books, for the most part, it felt refreshing and interesting. It certainly held my attention and brought to light the important topic of rape and its aftermath. The characters here are well-drawn, and I'll always have a place in my heart for dear Beatrice. 4 stars.
Kristy H (1252 KP) rated Trouble Girls in Books
Jun 3, 2021
A queer Thelma & Louise that doesn't live up to its potential
High school best friends Trixie and Lux are headed for a much-needed weekend getaway. Trixie needs to forget about her depressing waitress job, where all the men are "hogs" and her sick mom, and Lux needs to escape her overbearing dad. But a horrific night of violence changes everything and Trixie and Lux find themselves fugitives, running away from their tiny West Virginia town and everything they've ever known. Before they know it, they are wanted by the police, their faces splashed across social media. The girls are scared and horrified--on an unplanned road trip where the only thing they can count on is each other.
The premise of this book sounded amazing -- a queer "Thelma & Louise." Unfortunately, it all fell apart for me. Rather than being a #MeToo rallying cry, this was a depressing and stressful read, featuring two teens who make a bunch of stupid and ill-fated decisions.
I definitely understand the overall idea for TROUBLE GIRLS and even why Trixie and Lux run, afraid that no one will believe their story. But the choices they make along the way--spending their money on junk, not trusting each other, stealing and lying... and everything else. It's maddening. They do not act like two smart girls on the run, but two idiots who do not believe in one another. Trixie's infatuation with Lux clouds everything, and Lux comes across as this adored princess with no real personality of her own.
We're (eventually) told a bit of Trixie's backstory, including why we have to read the word "hog" in what feels like every other darn sentence, but the character development here is severely lacking. Trixie has a sick mom and a dark secret. Lux... likes makeup and her camera? I think this story would have would worked so much more if we knew how and why these two teens ticked. Why, exactly, was Trixie so in love with Lux? How exactly did Lux feel back? There's a weird switch that turns at some point in the book, and it made no sense to me. If you're going to give me a queer story, give me queer characters who truly feel for one another and whose love is based in reality.
Trixie and Lux's story is supposed to have a #MeToo angle to it, and it does, in some ways, but this was not a #MeToo anthem to me. It's two girls running away, trying to figure out maps on the back roads, and making poor decisions as they flee what they've done. While, again, I understand why they run, the story I wanted to read was Trixie and Lux returning to Blue Bottle and fighting along side the Intersectional Feminist Union and the other women they supposedly "rally" with a few misplaced social media posts. It was these women and Judy, Trixie's co-worker back home, whose life I wanted to know about--I would have enjoyed that book much more!
Overall, this book can tug at your heart strings, but also frustrate you to no end. There was much to its overall premise, but most of it did not work for me. 2.5 stars (Trigger warning: sexual assault, rape)
The premise of this book sounded amazing -- a queer "Thelma & Louise." Unfortunately, it all fell apart for me. Rather than being a #MeToo rallying cry, this was a depressing and stressful read, featuring two teens who make a bunch of stupid and ill-fated decisions.
I definitely understand the overall idea for TROUBLE GIRLS and even why Trixie and Lux run, afraid that no one will believe their story. But the choices they make along the way--spending their money on junk, not trusting each other, stealing and lying... and everything else. It's maddening. They do not act like two smart girls on the run, but two idiots who do not believe in one another. Trixie's infatuation with Lux clouds everything, and Lux comes across as this adored princess with no real personality of her own.
We're (eventually) told a bit of Trixie's backstory, including why we have to read the word "hog" in what feels like every other darn sentence, but the character development here is severely lacking. Trixie has a sick mom and a dark secret. Lux... likes makeup and her camera? I think this story would have would worked so much more if we knew how and why these two teens ticked. Why, exactly, was Trixie so in love with Lux? How exactly did Lux feel back? There's a weird switch that turns at some point in the book, and it made no sense to me. If you're going to give me a queer story, give me queer characters who truly feel for one another and whose love is based in reality.
Trixie and Lux's story is supposed to have a #MeToo angle to it, and it does, in some ways, but this was not a #MeToo anthem to me. It's two girls running away, trying to figure out maps on the back roads, and making poor decisions as they flee what they've done. While, again, I understand why they run, the story I wanted to read was Trixie and Lux returning to Blue Bottle and fighting along side the Intersectional Feminist Union and the other women they supposedly "rally" with a few misplaced social media posts. It was these women and Judy, Trixie's co-worker back home, whose life I wanted to know about--I would have enjoyed that book much more!
Overall, this book can tug at your heart strings, but also frustrate you to no end. There was much to its overall premise, but most of it did not work for me. 2.5 stars (Trigger warning: sexual assault, rape)
Awix (3310 KP) rated Little Women (2019) in Movies
Jan 7, 2020
Not my usual kind of movie, but I turn up for anything with Greta Gerwig or Florence Pugh involved in it. Happily this proved not to be the leaden piece of post-MeToo agitprop some of the advertising suggested, but a sensitive and subtle adaptation of a classic piece of literature (it says here). During and after the American Civil War, four sisters (Meg, Amy, Little Jo and Hoss) grow up and come of age, under the steely gaze of their Aunt Ben Cartwright (Meryl Streep). (I may be getting this mixed up with something else.)
Strong performances, especially from Ronan and Pugh, and a generally classy movie in most respects. This is mainly due to a very smart script and evocative direction, both from Gerwig, which finds clever resonances between events at different points in the narrative (the story is told somewhat out of chronological order) and creates just the right kind of atmosphere. There is inevitably a little bit of gender politics, but also a scene where a character suggests that there's nothing wrong with wanting to get married and have children, either. Engaging, likeable, and even quite moving in places.
Strong performances, especially from Ronan and Pugh, and a generally classy movie in most respects. This is mainly due to a very smart script and evocative direction, both from Gerwig, which finds clever resonances between events at different points in the narrative (the story is told somewhat out of chronological order) and creates just the right kind of atmosphere. There is inevitably a little bit of gender politics, but also a scene where a character suggests that there's nothing wrong with wanting to get married and have children, either. Engaging, likeable, and even quite moving in places.
Dianne Robbins (1738 KP) rated To Tell the Truth in TV
Apr 6, 2021 (Updated Apr 6, 2021)
I used to watch the original To Tell the Truth; the old one in black & white, late at night on the Game Show Network, and loved it. It was charming, classy, intriguing, delightful, and funny. So I was excited when the modern iteration of the game show came out. I'm not a huge fan of the host but he's tolerable. What I don't like is his mother, Doris. She makes disgusting sexual comments that are highly inappropriate to the male contestants. Comments that would not be tolerated if a man were making them toward a woman. The men are visually uncomfortable with her remarks but they play it off like it's a funny joke, but it isn't. I'm appalled that that level of sexism is allowed on television in the post #metoo movement world. I would have thought that people realized that you can't treat people like a piece of meat but apparently Doris did not get that message. She needs to go! Boot her off the show!
Other than her, they have people with interesting secrets and truths to tell on the show and it's fun to try to guess which one of the contestants is the one with the secret. It's a shame that Doris has to spoil an otherwise entertaining show.
Other than her, they have people with interesting secrets and truths to tell on the show and it's fun to try to guess which one of the contestants is the one with the secret. It's a shame that Doris has to spoil an otherwise entertaining show.
ClareR (5603 KP) rated Young Women in Books
Apr 12, 2023
Young Women is set against the #MeToo era. It’s a fascinating read, and it was interesting to take a look into the lives of Emily and her friend Tamsin.
Emily meets Tamsin at a protest march and they become friends very quickly. Tamsin is an actress who seems to be living a very expensive life. She owns a flat in Soho, eats in expensive restaurants and drinks in even more expensive bars. In contrast, Emily shares a small flat, and works for a charity that deals with women’s advocacy. Her life is very different, and she’s excited by what Tamsin has to offer.
When an actress comes forward to accuse a film director of sexual assault, Emily realises that Tamsin is involved in some way.
This novel looks at how women can be coerced into keeping quiet about assault and in this case, with large sums of money. We see how men have all the power, how acts of sexual assault by males are all too frequent and commonplace, and how women can make themselves complicit whilst experiencing trauma.
There’s a lot to talk about in this novel, and I think it would make an outstanding book club book. It would certainly create a great deal of discussion around both sides of the equation. All of the men are written as complication inappropriate behaviours around women, and the women initially take the money in exchange for their silence, only to disclose what happened to them later.
This is a brilliant book, I hope people will read it and discuss the questions it raises about our society as a whole.
Emily meets Tamsin at a protest march and they become friends very quickly. Tamsin is an actress who seems to be living a very expensive life. She owns a flat in Soho, eats in expensive restaurants and drinks in even more expensive bars. In contrast, Emily shares a small flat, and works for a charity that deals with women’s advocacy. Her life is very different, and she’s excited by what Tamsin has to offer.
When an actress comes forward to accuse a film director of sexual assault, Emily realises that Tamsin is involved in some way.
This novel looks at how women can be coerced into keeping quiet about assault and in this case, with large sums of money. We see how men have all the power, how acts of sexual assault by males are all too frequent and commonplace, and how women can make themselves complicit whilst experiencing trauma.
There’s a lot to talk about in this novel, and I think it would make an outstanding book club book. It would certainly create a great deal of discussion around both sides of the equation. All of the men are written as complication inappropriate behaviours around women, and the women initially take the money in exchange for their silence, only to disclose what happened to them later.
This is a brilliant book, I hope people will read it and discuss the questions it raises about our society as a whole.
This was so original - dystopia where the women take control. This isn't an angle that we see very often, and in the current climate of #MeToo, it's nice to read something where the women have the upper hand (or is it?! Because that's what you're left thinking).
Women develop a 'skein' that grows across their collar bone, and gives them the ability to control/ kill/ maim men and each other. Absolute power corrupts absolutely (who said that anyway?) after all.
This is the story of the genesis of the power, how it was triggered throughout a generation, who were then able to awaken it in older women. How women realised that they didn't have to be victims anymore, and began to take on many/ all of the attributes of their male counterparts (and not always the good ones). Men are viewed as the weaker sex, women as protectors and leaders.
I was fascinated by this whole idea. The characters showed us the different sides to the power - religion, organised crime, politics - and how it utterly changed the dynamic in society.
The museum pieces were very interesting, and the idea that this book was being written thousands of years in the future was very clever. And being written by a man. I liked how his editor (a woman) thought he would be taken more seriously if he were to write under a female pseudonym! Oh how times had changed!
I listened to this on audiobook, and read along to parts of it. The narration and voice actors were spot on - I couldn't stop listening until I had to, of course. Real life has a habit of interrupting reading and listening time!
Highly recommended.
Women develop a 'skein' that grows across their collar bone, and gives them the ability to control/ kill/ maim men and each other. Absolute power corrupts absolutely (who said that anyway?) after all.
This is the story of the genesis of the power, how it was triggered throughout a generation, who were then able to awaken it in older women. How women realised that they didn't have to be victims anymore, and began to take on many/ all of the attributes of their male counterparts (and not always the good ones). Men are viewed as the weaker sex, women as protectors and leaders.
I was fascinated by this whole idea. The characters showed us the different sides to the power - religion, organised crime, politics - and how it utterly changed the dynamic in society.
The museum pieces were very interesting, and the idea that this book was being written thousands of years in the future was very clever. And being written by a man. I liked how his editor (a woman) thought he would be taken more seriously if he were to write under a female pseudonym! Oh how times had changed!
I listened to this on audiobook, and read along to parts of it. The narration and voice actors were spot on - I couldn't stop listening until I had to, of course. Real life has a habit of interrupting reading and listening time!
Highly recommended.
Isabel Smith (34 KP) rated Here We Lie in Books
Jun 24, 2018
Two Worlds Collide
Megan Mazeros and Lauren Mabrey are polar opposites. While Megan comes from a middle-class family in Kansas, Lauren hails from a wealthy Connecticut-based family. While Megan’s father slowly succumbed to mesothelioma which he referred to as the poor man’s cancer, Lauren’s father is a well-liked U.S. Senator with all the rights and privileges pertaining thereto. While Megan has to use her father’s life insurance money to pay for tuition and housing at Keale College (a prestigious, private, and all-girls school), Lauren is given a continual allowance that gets her through her college years with utmost ease. When they meet during their freshman year at Keale College, they unexpectedly become the best of friends. Sharing clothes, secrets, roommates, ambitions, and more, the pair goes through many ups and downs in their friendship during the following years. But one fateful night while they’re vacationing with Lauren's family on an island off the coast of Maine, something terrible happens to Megan and their friendship is irreparably damaged afterwards.
Told in an alternating first-person perspective between Megan and Lauren, Here We Lie is a powerful and relevant story about friendship, betrayal, political scandal, and abuse. I enjoyed everything about it, from the back-and-forth jumps between past and present to the incredible growth of both the main characters. The narrative is fast-paced and compelling, and the ending is beautiful and inspiring. With the rise of the #MeToo movement in the present-day world, Paula Treick DeBoard’s incredibly timely latest novel is sure to spark plenty of conversation about sexual abuse victims and perpetrators, motivation for reform and accountability, and at the very least food for thought.
Told in an alternating first-person perspective between Megan and Lauren, Here We Lie is a powerful and relevant story about friendship, betrayal, political scandal, and abuse. I enjoyed everything about it, from the back-and-forth jumps between past and present to the incredible growth of both the main characters. The narrative is fast-paced and compelling, and the ending is beautiful and inspiring. With the rise of the #MeToo movement in the present-day world, Paula Treick DeBoard’s incredibly timely latest novel is sure to spark plenty of conversation about sexual abuse victims and perpetrators, motivation for reform and accountability, and at the very least food for thought.
This is no Handmaids Tale!!
This was so original - dystopia where the women take control. This isn't an angle that we see very often, and in the current climate of #MeToo, it's nice to read something where the women have the upper hand (or is it?! Because that's what you're left thinking).
Women develop a 'skein' that grows across their collar bone, and gives them the ability to control/ kill/ maim men and each other. Absolute power corrupts absolutely (who said that anyway?) after all.
This is the story of the genesis of the power, how it was triggered throughout a generation, who were then able to awaken it in older women. How women realised that they didn't have to be victims anymore, and began to take on many/ all of the attributes of their male counterparts (and not always the good ones). Men are viewed as the weaker sex, women as protectors and leaders.
I was fascinated by this whole idea. The characters showed us the different sides to the power - religion, organised crime, politics - and how it utterly changed the dynamic in society.
The museum pieces were very interesting, and the idea that this book was being written thousands of years in the future was very clever. And being written by a man. I liked how his editor (a woman) thought he would be taken more seriously if he were to write under a female pseudonym! Oh how times had changed!
I listened to this on audiobook, and read along to parts of it. The narration and voice actors were spot on - I couldn't stop listening until I had to, of course. Real life has a habit of interrupting reading and listening time!
Highly recommended.
Women develop a 'skein' that grows across their collar bone, and gives them the ability to control/ kill/ maim men and each other. Absolute power corrupts absolutely (who said that anyway?) after all.
This is the story of the genesis of the power, how it was triggered throughout a generation, who were then able to awaken it in older women. How women realised that they didn't have to be victims anymore, and began to take on many/ all of the attributes of their male counterparts (and not always the good ones). Men are viewed as the weaker sex, women as protectors and leaders.
I was fascinated by this whole idea. The characters showed us the different sides to the power - religion, organised crime, politics - and how it utterly changed the dynamic in society.
The museum pieces were very interesting, and the idea that this book was being written thousands of years in the future was very clever. And being written by a man. I liked how his editor (a woman) thought he would be taken more seriously if he were to write under a female pseudonym! Oh how times had changed!
I listened to this on audiobook, and read along to parts of it. The narration and voice actors were spot on - I couldn't stop listening until I had to, of course. Real life has a habit of interrupting reading and listening time!
Highly recommended.
LoganCrews (2861 KP) rated Bridget Jones's Diary (2001) in Movies
Sep 20, 2020
Renée is of course perfect, as are Hugh and Colin and all three of their respective characters. In fact this is still just as tight, snappy, and cute as it was back in the day - but per no real fault of its own this (or at least a hefty amount of its elements) became the basis for pretty much *every* chintzy romcom clone that was to come for the foreseeable future to the point where a lot of this just feels rather rote now in light of that *and* today's version of the mainstream romcom. Not that there still isn't revolutionary stuff that stands out, particularly the representation of a demographic that wasn't usually seen as romantic lead status at the time given by this lead. Though while it starts out lovely enough there's a clear dip in quality at a point and it treads water by the end. I find the first half very interesting in that - at the time - it probably played as a very adorable yet scandalous romp but now plays more like a biting, ballsy foray into societal satire in light of the #MeToo movement. Plus that's when the witty dialogue, engrossment, and visual competence is at its best anyway. But those aforementioned cringey and overused romcom clichés (people falling off boats, making a mess while cooking, interrupting some sort of wedding announcement, cheeky but actually annoying best friends who serve no purpose, etc etc) bog it down more and more until it runs on full autopilot mode. The parent subplot is a nonentity too but that's whatever I guess. Though I do stand with the majority in that the Firth x Grant fight scene is - naturally - a masterpiece. Agreeable even though approximately no interesting threads get pulled.
BankofMarquis (1832 KP) rated Little Women (2019) in Movies
Feb 5, 2020
A Worthy Adaptation
There have been many adaptations of Louisa May Alcott's 19th Century Classic novel LITTLE WOMEN following the adventures, loves and losses of the 4 March sisters - Jo, Meg, Amy and Beth.. My favorite is the Orono High School's production of the musical version of LITTLE WOMEN (starring my daughter as Jo), but coming in a close second is the 1933 version with Katherine Hepburn starring as Jo (the quintessential Jo, in my book). So was there really a need for ANOTHER version of this?
Well...yes...and...no.
As adapted and directed by Greta Gerwig, this version of LITTLE WOMEN stars Saoirse Ronan as Jo, Emma Watson as Meg, Florence Pugh as Amy and Eliza Scanlen as Beth and has a strong "2019" female empowerment vibe to it (this is intended to be a compliment). I've seen this called a "Little Women for the #metoo era" and I think this is misguided branding - for it does disservice to the #metoo movement - and to this film.
Ronan - as expected - was Oscar nominated for her strong, independent turn as the strong and independent Jo. This is a perfect marriage of performer and material (almost as good as the Hepburn turn) and Ronan lands this character strongly (and correctly) at every turn. Timothee Chalamet matches her beat for beat as her erstwhile love, Laurie. This is the 2nd time that these two have played opposite each other (LADYBIRD was the other time) and there is a strong chemistry between these two - I look forward to many, many more pairings of Ronan and Chalamet in the future.
Famously (or maybe, it's infamously) Greta Gerwig did NOT receive and Oscar nomination for her Direction - and I think that is a shame (there are at least 2 nominated Directors that I would take off the list in favor of her). Because she adapted the screen play (a piece of work that she WAS Oscar nominated for - and will win in an effort to make up for the Directing snub), her Direction is sure-handed and strong throughout. She has a very good feel for the material and knows what she wants to do throughout, to interesting results.
This is because Gerwig chooses to focus much of this version on the relationship between Jo and Amy - a relationship that gets short shrift in most of the other adaptations. By casting Florence Pugh (also Oscar nominated) in the Amy role, Gerwig has a strong antagonist to Ronan's protagonist - with shades of both being grey. Neither character (or performance) is black and white they are both interacting with each other as realistic sisters would, both taking turns being "in the right"....and "the wrong".
Because of the focus on the Jo and Amy characters, the other 2 sisters - Meg and (especially) Beth - get short changed and even though both Watson and Scanlen are "game", they have precious little to do. The same goes with Meryl Streep (Aunt March), Laura Dern (Marmie), Tracy Letts (who seems to be in EVERYTHING right now) and Bob Odenkirk (of all people). They are all strong - and earnest - in their limited time on screen, but NONE of them have that much to do. Only Chris Cooper shines brightly in his small, supporting role.
I have to admit that because I've seen this story many, many times, I found my mind wandering a bit - especially at the beginning. But by the time Ronan/Chalamet/Pugh started working off of each other, the film - and my interest - rose.
So...is another version of LITTLE WOMEN necessary? I'd say no. But...if this version of LITTLE WOMEN is the one that the Little Women of today see - and can identify with - then I say "bring it on."
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank (ofMarquis)
Well...yes...and...no.
As adapted and directed by Greta Gerwig, this version of LITTLE WOMEN stars Saoirse Ronan as Jo, Emma Watson as Meg, Florence Pugh as Amy and Eliza Scanlen as Beth and has a strong "2019" female empowerment vibe to it (this is intended to be a compliment). I've seen this called a "Little Women for the #metoo era" and I think this is misguided branding - for it does disservice to the #metoo movement - and to this film.
Ronan - as expected - was Oscar nominated for her strong, independent turn as the strong and independent Jo. This is a perfect marriage of performer and material (almost as good as the Hepburn turn) and Ronan lands this character strongly (and correctly) at every turn. Timothee Chalamet matches her beat for beat as her erstwhile love, Laurie. This is the 2nd time that these two have played opposite each other (LADYBIRD was the other time) and there is a strong chemistry between these two - I look forward to many, many more pairings of Ronan and Chalamet in the future.
Famously (or maybe, it's infamously) Greta Gerwig did NOT receive and Oscar nomination for her Direction - and I think that is a shame (there are at least 2 nominated Directors that I would take off the list in favor of her). Because she adapted the screen play (a piece of work that she WAS Oscar nominated for - and will win in an effort to make up for the Directing snub), her Direction is sure-handed and strong throughout. She has a very good feel for the material and knows what she wants to do throughout, to interesting results.
This is because Gerwig chooses to focus much of this version on the relationship between Jo and Amy - a relationship that gets short shrift in most of the other adaptations. By casting Florence Pugh (also Oscar nominated) in the Amy role, Gerwig has a strong antagonist to Ronan's protagonist - with shades of both being grey. Neither character (or performance) is black and white they are both interacting with each other as realistic sisters would, both taking turns being "in the right"....and "the wrong".
Because of the focus on the Jo and Amy characters, the other 2 sisters - Meg and (especially) Beth - get short changed and even though both Watson and Scanlen are "game", they have precious little to do. The same goes with Meryl Streep (Aunt March), Laura Dern (Marmie), Tracy Letts (who seems to be in EVERYTHING right now) and Bob Odenkirk (of all people). They are all strong - and earnest - in their limited time on screen, but NONE of them have that much to do. Only Chris Cooper shines brightly in his small, supporting role.
I have to admit that because I've seen this story many, many times, I found my mind wandering a bit - especially at the beginning. But by the time Ronan/Chalamet/Pugh started working off of each other, the film - and my interest - rose.
So...is another version of LITTLE WOMEN necessary? I'd say no. But...if this version of LITTLE WOMEN is the one that the Little Women of today see - and can identify with - then I say "bring it on."
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank (ofMarquis)