Directed By Tina Gordon
Starring – Regina Hall, Issa Rae, Marsai Martin
The Plot – A woman (Hall) is transformed into her younger self (Martin) at a point in her life when the pressures of adulthood become too much to bear.
Rated PG-13 for some suggestive content
– Gifted casting. It’s rare that a film in 2019 will have such domination in the form of leading ladies, and even more so that those ladies make the most in elevating such predictable material, but that is the case with the trio of Hall, Rae, and Martin, who each bring their vibrant personalities to the indulgence of the audience. The comparison between Hall and Martin feels seamless for a transformation movie, with each actress sharing identical traits in speech patterns and expressions that would otherwise go unnoticed by incapable directing. Hall is definitely the best part of this film, being as nasty as she wants to be as the boss from hell, and the rest of the movie surrounding her kind of stalls when she’s gone, but the chemistry between Rae and Martin is just enough to tie us over through many scenes of mayhem that the duo get into. It’s in the reactions of these two virtual silver screen newcomers that was a delight to watch, leading to many confrontations between them that is both audibly and visually satisfying when you think about people around them witnessing it all.
– Clean cut comedy. The effectiveness of the humor is greatly surprising, especially considering it’s mostly curse word free, and nothing in this trailer made me giggle even remotely. “Little” is a film that saves its best material for the presentation, juggling a fine compromise of physical and social awkwardness that we the audience can flesh out long before the supporting character’s do, because we constantly remain one step ahead in our wealth of knowledge, and it led to a 60% landing rate for me, that did harvest some solid laughs in the material. In this regard, Rae is definitely the M.V.P, as her bold facial reactions and lewd public demeanor carve out what I describe as a female Chris Tucker, and pack a resounding punch in the area this movie needs the most.
– A second chance. It was strange to me that a kid character who gets bullied when we start the movie is the one who transforms back to learn a lesson. In most cases, it’s the bully who has to redeem themselves, but Martin’s character is one who uses the knowledge that she attained as an adult to give herself another opportunity at a childhood that she had robbed from her, and it not only leads to the contrasts of similarities between the respective era’s that she was a child through, but it also sheds a light on brutal bullying that still persists now as it ever did. This gives way to a positive message that I appreciated for how it could inspire youthful audiences to use in their own lives, and sends audiences home on a feel-good note that was earned because of the depictions of middle school being so restrictive and mentally scarring.
– Unity. It’s refreshing and a rare benefit to see a film indulge in feats that deal with black women being successful and being comfortable in their own skin. Being a woman of color herself, Gordon revels in this positive and airy atmosphere that gives her character’s power, but above all else responsibility in careers and the dependency of the film, which sadly isn’t represented enough in modern day film. From this angle, “Little” manages to transcend the silver screen, with a bunch of progressive ideals for our own corporate world that help break down barriers and give attention to corporate and social commentary where it’s immensely needed.
– Forgotten subplots. This is a sloppy script that occasionally introduces elements that are given ample screen time to feel important, yet never are given a satisfying conclusion to tie it all together. The first is the hunky teacher, whose lone scene in the film is the one that audiences are treated to in the trailer. This scene with him lasts around ten minutes, and we never see him again. Likewise, a meaningful plot involving Hall’s love interest is touched upon but never elaborated on with a late act confrontation between them that I felt was needed to satisfy their on-again, off-again relationship. The big problem here is that some scenes are given too much time, while others struggle to get the light needed to further develop them, and it leads to two uneven halves that when compared bring an obvious weak period late in the film that couldn’t hold up to the consistency of the first thirty minutes of the movie.
– Strange observations. Why does the woman’s clothes change sizes in one transformation but not the other? In a school that takes initiative with inclusion during a school play, why is there what’s labeled a “Friend Zone”, where the so-called loser kids eat lunch away from the rest of the cool elite? Why are there not one, but two instances of school bullying and violence depicted in this movie during a big event with a lot of eyes and focus on the stage, and no teacher within shouting distance? Why did the rich client (Played by SNL’s Mikey Day) show up for a pitch meeting three days later instead of the 48 hours that was originally established? Why does Regina Hall’s character have so many kids clothes in her closet, despite not having kids herself? Since the whole plot revolves around a little girl magician who turns Regina Hall younger, does it mean all of her transformations work? What about the white guy during the third act who she wanted to turn into a marshmallow out of frustration?
– Plot halting. There’s a period of about 40 minutes in this movie, where the central plot is put in park for some scenes of question that don’t exactly fit or add anything to the dynamic of the progression. A musical number, as well as the aforementioned hot teacher scene, leave very little lasting impact, and even worse stalls the fluidity of the pacing, which was solid until that point. In fact, when you really think about it, this movie should be over in twenty minutes, especially considering how easy it would be to track down this little girl magician, but because of the plot device we better spread it out for 104 minutes. This is perhaps the biggest fault with Gordon’s directing, as the tabs kept with the central conflict receives minimalist’s attention, and it forces creativity to bring Rae’s character back to the forefront.
– Television production quality. Everything here, from the lack of risks or personality taken with the cinematography, to the routine scale of angles and editing that leaves the presentation lacking inspiration, is presented in a way that screams inexperience, and while Gordon isn’t fully to blame for these decisions, the inexperience of a writer-turned-director recently does limit its capabilities. Likewise, the lack of depth associated with production design also rears its ugly head, during a few scenes when the weight of the stakes in the balance doesn’t feel quite as even as the situation calls for. In fact, the overall presentation of “Little” gave it an obvious comparison to recent films like “Isn’t It Romantic”, “Girls Night”, and “Night School”, but what makes this worse is that it comes on the tail end of those already mundane films and never finds a conscience to branch out above the pack. It’s an uninspiring product that refuses to take chances to dazzle audiences.
– Uncomfortable sexualizing. This is really the biggest bother for me in the movie, as Martin (A 13 year-old) is decked out constantly in tight, body-showing wardrobe, as well as given not one, but two scenes where she flirts with older co-stars, as well as dancing provocatively, and while the film called for it based on the dynamics of the plot, it doesn’t mean that I can accept any kind of glorifying of it. In this regard, it’s almost like they never fully commit to Martin’s youthful transformation, and still long for her to represent the elder side of Hall, which is a misstep for the comedy of the scene. If the posh Hall is reduced to wearing these cheap, ugly youthful threads, then it will better flesh out the desperation of her situation that leaves her feeling so far from the woman she’s fought endlessly to become.
– Far too predictable. This is not breaking news to anyone, but the film is heavily influenced by 1986’s “Big”, in that not only is its title a play on that previous film, but it also lifts identical plot points directly from that film as inspiration. The problem is that its inability to distance itself from the former and overall better film muddles the material down to predictably bland levels that left me being able to sniff out every resolution in plenty of time before it appeared. I can understand that the wiggle room is claustrophobic with a premise this specific, but there’s almost no point in making a film that isn’t labeled as a remake unless you’re going to experiment in ways that allows distance, and while “Little” has sprouts of flavorful delight, the overall whole had me experiencing flashbacks of Tom Hanks in his comical prime.
My Grade: 4/10 or D