Directed by Clare Niederpruem
Starring – Lea Thompson, Ian Bohen, Lucas Grabeel
The Plot – A modern retelling of Louisa May Alcott’s classic novel, we follow the lives of four sisters: Meg (Melanie Stone), Jo (Sarah Davenport), Beth (Allie Jennings), and Amy March (Taylor Murphy); detailing their passage from childhood to womanhood. Despite harsh times, they cling to optimism, and as they mature, they face blossoming ambitions and relationships, as well as tragedy, while maintaining their unbreakable bond as sisters.
Rated PG-13 for some thematic elements and teen drinking
– Thankfully, what still works about this story is this bond within the essence of sisterhood that stands tall against anything that the world, fate, and modernization wants to throw at them. It took a while for the dramatic element of this film to come through, but once it finally does we bask in the melancholy surroundings, that even though are familiar to anyone who knows this story, still works magically at lifting a tear or two from us the audience.
– While I had one MAJOR problem in the performance department that I will get to later, the majority of this fresh-faced cast do the job superbly at resonating what stands out about each of their respective differences in character. It’s particularly in the work of Allie Jennings as Beth that resoundingly won me over, giving life and aspiration to a girl who never had the benefit of leaving home. Beyond her, I also enjoyed the work of film veteran Lea Thompson as Marmee, even if her abundance of screen time feels extremely limited. Thompson’s portrayal is still a woman who is very much still growing into herself as a housewife on her own, so it’s easy to see the connection that she as a character share with her daughters, who themselves are carving out a name for themselves in the world.
– Who’s to blame? Much of this film to me felt like a studio obligation that was bending and tweaking an ages old story to accommodate viewers of a new generation to Alcott’s work, but in the direction of Neiderpruem, she is someone who makes the best of a desperate situation, squeezing out the most in a limited budget in the form of beautiful shooting locations to harvest the environment of this Massachusetts setting. She’s also someone who keeps the focus firmly on her young cast, instilling in them a layer of confidence as actors that propels them to push through some of the faults creatively that doomed this one from the start.
– I hate calling out one actress in particular, but Sarah Davenport’s portrayal of Jo, the time-honored protagonist of the story, is downright detestable. In Davenport’s often overly-dramatic deliveries and constant prickly personality, we can’t help but laugh or take great disdain with the character. Even in a story about sisterhood, Jo as a character is someone who tests nerves and boundaries repeatedly, and really makes you question what this movie sees in her as a continued protagonist to keep our interests.
– Aging progression. This film is told through a series of disjointed flashbacks, that kind of counts down the passing years in getting us to modern day, and what truly doesn’t work for a second about this gimmick is in the lack of believability associated with aging these characters. Never does their hairstyles, fashion trends, or even body varieties change for a second, and if this isn’t enough, the springing growth of Amy during the film’s final twenty minutes will hammer this glaring problem home. Amy is played by three different actresses, while the other girls are played by two, and this makes the third actress’s introduction in the final few scenes that much more of a distraction when she’s immersing with sisters who haven’t changed a bit in twelve years of story.
– Speaking of flashbacks, the film features these horrendously tacky looking visuals that we are treated to each time we ascend backwards. Because this film has zero confidence in its audience to pick up on time transformations accordingly, we have to be treated like brain-dead slugs throughout the movie, and have to be reminded by what only can be described as a blurred coma, each time we’re ready for another.
– Clumsy, inconsistent photography in camera work. Beyond these clunky walking sequences that feel like the cameraman is treading through a rocky desert, the sloppy framing work and undesirable angles made for quite the uncomfortable sit for 107 testing minutes. Objects constantly get in the way of the focus for what is front-and-center, and the film’s limited production capacity crafts that made-for-TV design pallet that should’ve catered more to the Hallmark Network instead of the big screen.
– While I didn’t have any problems with setting this story in modern day 2018, I found the gimmick to add nothing of importance or structure to the classic novel that was a product of its time. Some things feel sac-religious, such as the ambiance of rap music played during a school dance, or the family’s non-existent spin with poverty that established a needed layer of empathy to their characters, but the requirements of a time-stamped gimmick are those that treat the designation like a living, breathing character within the film. We can certainly prove that this film does take place in 2018, but what we can’t answer is why, and that’s an overwhelming feeling leaving the movie that I couldn’t escape.
– Underdeveloped story arcs. Whether the case of Meg’s largely ignored subplot with her romantic interest, that goes from eating a cheeseburger on a pick-up truck to getting married within twenty minutes, or the lack of influence from two parents in the film that feel like ghosts, the screenplay can never keep an accurate count of how many characters it involves to keep the story fresh. Basically, this is a film for lovers of Jo, Laurie, and Freddy’s story tier, fleshing out a forced love triangle between them that stinks of studio intrusion. Yes, i know this angle was in the book, but the level of focus given to it here makes it feel like the whole story, doing a disservice to characters outside of the bubble who we’re barely fortunate enough to check-in on from time-to-time.
– Things that bother me. While all of these are included in the original story, the lack of change associated with this film proves it’s more of the same. First of all, with Jo being such an independent and fighter of equality for women’s rights, why does she retort to falling in love with her teacher? It feels like the only way she will ever be signed is to succumb to what a man wants, and it does her zero favors in the morality department. The second is in the blossoming love between Laurie and Amy. If I need to explain what is wrong about this one, then you are part of the problem. I’ll leave it at that.
– Due in 2019, Greta Gerwig will direct her own version of the Little Women story, rendering this one inevitably forgettable.