Episode 207: Little Women

All adaptations are not created equal and this week we discuss one of the best, Greta Gerwig’s new take on Louisa May Alcott’s book. With a modern flair, a meta twist, and the best ensemble cast of the year, this version of Little Women warmed our hearts and won us over.

Little Women Review – 0:01:01

The Connecting Point – 1:21:02

Follow & Subscribe


Join the Facebook Discussion Group

Download This Episode


Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

MOVIE REVIEW: Little Women

Greta Gerwig’s “Little Women” follows the lives of four sisters from the blooming time of teenage years into the world of adulthood. Taking place during a tumultuous period of the Civil War, Jo (Saoirse Ronan), Meg (Emma Watson), Amy (Florence Pugh), and Beth (Eliza Scanlen) have their own distinct ways of viewing a world in which women’s opportunities for independence are scarcely low. The only paths to prominence were being the wife of a privileged husband, which left women in the predicament of being “property” with no sense of individual ownership, or being rich. Each sister has a sense of free will and distinct ambitions to go far beyond this limited vestige by focusing on their pursuit of the arts. Through seamless transitions between the past and present, these bonded sisters traverse romance, tragedy, family, and self-exploration.

Featuring one of the best ensembles of the year, the cast is a who’s who of gifted young actors/actresses and established veterans. Ronan, Watson, and Pugh are impeccable with a delightful charm and sit a level above the rest of the cast. Ronan is full of strong will and combustible energy that pulls the viewer into her inner wish to shatter the mold as an aspiring novelist. There is not one scene where she doesn’t steal the show. Pugh is a stellar sidekick, continuing her hot streak in 2019 that has seen her star in roles across several different genres. Watson plays her part with a silent elegance and really hits home in a couple of dramatic moments. Timothée Chalamet, Meryl Streep, and Laura Dern all hold up their end of the supporting bargain with terrific turns representing relevant figures in the maturation of these sisters.

A certain amount of heartwarming compassion and charm is present in every little fabric of this adaption. Certain scenes will make you smile because of the easily discernible connection the sisters share or the little moments of moral humanity where characters are full of life and charity. This world is soaked with the beloved energy that the novel has carried for over 150 years; a rare case in which the film soars to the same heights of its literary companion. For a 759 page novel, the film’s pacing and actor mannerisms makesit easy to keep up with all of the important details, the switch between flashbacks and present time are handled with the utmost care and feel seamless. Jess Gonchor’s work on the production design is the equivalent of authenticity done right. House decor, horse-drawn carriages, fashion of the era, and street signs are carbon copies of what readers have imagined for decades as the words bounce off the page.

Gerwig handles writing and direction duties just as she did with her last great film, “Lady Bird”, and shows a greater sense of improvement and ease. It can be an audacious task bringing a well-received literary classic to the big screen, but Gerwig succeeds immensely. “Little Women” is an entertaining homage that carries a modern feel while keeping the personality of a timeless period piece. This is a film that speaks to all women in the celebration of autonomy and uniqueness while delivering laughs, developed character arcs, remarkable cinematography, and a winner’s circle of award-worthy performances. I’m still surprised with how much I enjoyed my time at the theater.

Rating:


Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

Episode 203: Marriage Story

It’s time to get real and raw, as this week we chat about Noah Baumbach’s impressive, devastating new feature film. We are strong believers in the emotional impact films can have and this one hits as hard as any in a long time. 

Marriage Story Review – 0:01:09

The Connecting Point – 1:27:37

Follow & Subscribe


Join the Facebook Discussion Group

Download This Episode


Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

MOVIE REVIEW: Marriage Story

When you are with someone in a romantic partnership, it never really comes as a thought about how it will be to lose all of your love and happiness through a painful separation. It would be unorthodox to enter a relationship and not hope for the best, living out those vows to be together through the good and bad. Everybody wants to find that person that they feel completes them and is willing to call them their man/woman through the good and the noticeable flaws that rise to the surface here and there. Sometimes, these promises don’t end up with a fairy tale ending; instead, you feel the agony and suffering of a dream unfulfilled and the symptoms of a broken heart. Noah Baumbach’s “Marriage Story” delves into a marriage breaking apart. It is based on his real experience with actress Jennifer Jason Leigh but also can be a mirror into any point in our lives when we had a failed experience of love lost.

Charlie (Adam Driver) and Nicole (Scarlett Johansson) are a married couple who live in the bustling metropolis of New York City. Charlie is the owner of a celebrated theater company that gives Nicole a chance to follow her passion for acting, which has been a part of her life since her upbringing in Los Angeles. She had a chance to have a promising career in the City of Angels as a potential leading lady, but she ditched that dream to help Charlie build up his theater company and they ended up having a young son together. Over time Nicole feels that Charlie is not being open to her ideas, happiness, and wishes to go back to LA so she can be close with her family and friends. Charlie feels that with all the time he has dedicated to putting on works that can potentially go to Broadway, and dealing with all of the pressure and prestige that comes with it, he is giving everything he has for his family. Eventually, Nicole feels that the relationship has no more value with her having no autonomy and feeling a low sense of self-worth. She wants to jumpstart the process of a divorce. Charlie is shocked and painfully thinking over a world in which he loses the one person who he thought understood him for who he was, as well as losing the chance to be an able father to his child, due to a custody battle looming that will determine if he has to uproot his life in NY and move to the West Coast away from the home.

Baumbach brings his real-life pain to the screen with an intricate focus on the different dilemmas that arise during the process of divorce. Getting an attorney, custody battles, having to pay out of pocket (which can become expensive and potentially place you in debt or financial ruin), who keeps the apartment or houses, relationships between in-laws becoming fractured, a trial which can be taxing mentally, getting rid of special mementos that remind you of said person, and the feeling of your heart breaking into pieces are all captured here. There is nowhere to hide from seeing the pain on both Charlie and Nicole’s face in most scenes while they try to remain amicable and cordial during a time of emotional heartache. Even with trying to remain friends, Charlie and Nicole are swept into the system of divorce court which only rewards “bad behavior,” pushing them to look for any secrets or dirty ammo that can be used to help secure a resolution that each one wants. It’s a dirty game that spares no expense in leaving you embittered and broken down to the core.

The performances of Driver and Johansson are nothing more than extraordinary. Driver has etched his name right onto the Best Actor statue with a portrayal full that makes audiences feel the pain and anger over his life-changing dilemma. At times, Driver brought me near tears because of how involved his performance was; nothing felt put on for melodrama as you’d expect of a stereotypical scorned ex-husband. He played this role with feelings, sensitivity, masculinity, and fear. This is what a star turn looks like. Johansson gives the best performance of her storied career and it’s not even close, leaving it all on the floor with every line reading, every display of strong drama, and even the humorous yet compassionate little moments that populate this film. The amount of dedication she exudes is a wonder to watch and it’s inevitable that her name will be called on Oscar night along with Driver. They both share natural chemistry that shines during scenes of argumentative chaos; the tears are flowing, insults flying, and they both exhibit goosebumps-inducing body language that is extremely realistic and is amazing to watch. Laura Dern as Nicole’s lawyer has the confidence and charisma to stand out amongst the drama and carve out her own place for award nominations. She gives a strong and snarky supporting performance that may be dwarfed by the efforts of Driver and Johannson but nevertheless makes a mark long after the credits pop up.

Randy Newman’s score is pleasant with its echoes of somber reflection, expressing itself with beautiful piano notes and violins that speak their own language. It supports the dramatic arc of the story without overstaying its welcome or becoming forceful in its magnitude, and is one of the few cases where a score feels like a compliment to the scenes and moods expressed by the characters.

The production design is a treat. Interiors are simply constructed yet feel down-home with their minimalism. Both New York and Los Angeles are treated with idealized versions of the hustle and bustle of city life. You have the cold and wintery streets of New York compared with the sunny and outgoing showmanship of Los Angeles, which also presents a parallel of the divide between Charlie and Nicole. Sublime editing is on display with the array of wonderful quick edits that show themselves during conversations. It gives the film a certain kind of rhythm that makes this story easier to tolerate and deal with the sadness of its message. Costume design is a big plus, too, with honorable mentions going to Driver’s Invisible Man costume and Johansson’s David Bowie, as well as Beatles-influenced wardrobe in some moments toward the end.

“Marriage Story” is a high mark of storytelling that will affect and impact many viewers with its realistic depiction of a marriage turning into a divorce. Intense and compassionate with its own sense of feel-good and hilarious moments to break up the heartache, Baumbach and Netflix have an Oscar darling on their hands.

Rating:


Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

MOVIE REVIEW: Last Christmas

Kate (Emilia Clarke) is in a bad place. Stuck in a rut of bad decision-making, she is quickly losing the patience of her friends, family, and boss Santa (Michelle Yeoh) with every new selfish choice. But this film is a romantic comedy, set at Christmastime no less, and a change of heart is precisely what the doctor ordered. Right in the midst of some of her darkest days, Kate meets Tom (Henry Golding), a charming and adventurous wanderer who has thrown off the shackles of cell phone addiction and thus begins a new relationship that will challenge her and force her to confront the person she has become.

It shouldn’t be surprising that “Last Christmas” follows a pretty formulaic trajectory. What really sets apart films in this genre isn’t the plot, but rather the writing and cast chemistry, and it just so happens that those are two things “Last Christmas” does very well. Director Paul Feig is known for his comedies, and this may be the best of the bunch. Writers Emma Thompson, Bryony Kimmings, and Greg Wise infuse the film with some wonderfully hilarious dialogue throughout, while also touching on modern-day issues in London such as the effects of Brexit on immigrants and homelessness. Words are only as good as the actors delivering them, of course, and the entire cast of “Last Christmas” is up to the task. Clarke and Golding share a touching, slow-building romantic relationship that feels natural and is easy to root for, but the comedic chemistry between Clarke and Yeoh is definitely a highlight as well. Nearly every interaction between the two led to audience laughter, as did much of Emma Thompson’s work as Petra, Kate’s Yugoslavian mother. 

Another strength of the film is its use of music. Kate is a singer and superfan of George Michael, whose songs appear frequently, mixed in among various recognizable Christmas tunes. It makes for an incredibly enjoyable soundtrack that had audience members quietly singing along throughout. And while not as often-used as the songs, Theodore Shapiro’s score is aptly moving in the film’s most tender moments.

Despite its endearing story, there is one major event that occurs in “Last Christmas” which will be extremely divisive and could single-handedly break the film entirely for some moviegoers. If you’re able to roll with it, though, the film offers a charming and inspirational tale of learning to love others above self, and how that can change lives for the better.

“Last Christmas” is the kind of movie that will put a smile on your face, and it rings in the holiday season early this fall providing one of the sweetest rom-coms in years. Its brisk pacing, balance of emotionally touching moments with gut-busting comedy, fantastic cast chemistry, and sing-along worthy soundtrack make for a fun Christmas film that will be in many a family’s holiday movie rotation for years to come.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 190: When Harry Met Sally

This week we are celebrating a movie that turned 30 years old on July 21. Director Rob Reiner and writer Nora Ephron’s classic stands out as one of, if not THE definitive romantic comedy, inspiring countless others and remaining one of the pinnacle achievements of the genre to this date.

 

When Harry Met Sally Review – 0:02:32

The Connecting Point – 01:37:51

Follow & Subscribe


Join the Facebook Discussion Group

Download This Episode


Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

Episode 189: About Time

For September’s Donor Pick, our Patrons chose this sweet Richard Curtis film about time travel. We enjoy discussing what makes this particular romcom unique and why we felt as deeply about the relationships around the central characters as we did the primary romance.

 

About Time Review – 0:01:19

The Connecting Point – 1:01:07

Follow & Subscribe


Join the Facebook Discussion Group

Download This Episode


Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

MOVIE REVIEW: Official Secrets



 

Patrick “Patch” Hicks calls Little Rock, Arkansas home with his family of four (his wife, son and two pets). When he’s not podcasting, he works as a multimedia designer and is also dabbling in the art of writing and directing. You can find him floating around the web on Twitter, Facebook, and his home on the web, ThisIsPatch.com.

Episode 184: Varsity Blues

This week we enlist the help of listener J.B. Huffman to celebrate the start of football season by discussing one of our favorite movies featuring the sport, and our first of two episodes on films that adapted Buzz Bissinger’s best-selling book “Friday Night Lights.” There’s a lot more than just teenage antics going on in this film, and much of what it calls out about Texas HS football culture was ahead of its time. 

Varsity Blues Review – 0:03:14

Connecting Point – 1:24:13

Follow & Subscribe


Join the Facebook Discussion Group

Download This Episode


Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

Episode 177: 10 Things I Hate About You

It may still be summer, but we’re going back to high school early. July’s donor pick has us discussing a favorite 90’s teen high school movie.

10 Things I Hate About You Review – 0:01:10

The Connecting Point – 0:52:58

Follow & Subscribe


Join the Facebook Discussion Group

Download This Episode


Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!