Little Women (2019)

Gerwig delivers one of the great modern literary adaptations, capturing the emotional essence of the March sisters' lives with technical mastery. The critic highlights the film's romantic realism and ensemble performances as a transcendent achievement.

Greta Gerwig’s adaptation is a joyful, moving, near-flawless piece of film-making with an outstanding young cast and a modern sensibility that blows a breeze through the period action. It may be the best of the many adaptations of Alcott’s novel.

Gerwig cuts to the thematic essence of sisterhood, coming of age, nostalgia and female liberty with a fresh visual language. The critic singles out Florence Pugh's standout turn as Amy for particular praise.

Gerwig’s follow-up to Lady Bird takes an overly familiar story and makes it immediate, important and daring with bold non-linear storytelling that centres grown women and their ambitions. It is the definitive big-screen Little Women thanks to a finale that would delight Alcott.

Gerwig's take brings freshness, vitality and emotional nuance to the material, shaking up the chronology while respecting its old-fashioned bones and illuminating its proto-feminist perspective. The ensemble shines, led by Ronan's commanding Jo and Chalamet's standout Laurie.

The critic hails the film as a major achievement that is generous, sincere, and full of critical intelligence and honest sentiment. Gerwig's inventive adaptation and the dazzling cast, especially Saoirse Ronan, are singled out for praise.

Gerwig's non-chronological structure and elevation of Amy alongside Jo demand viewers reconsider the characters and themes of happiness, economics, and gender expectations. The film treats the sisters as rounded individuals with diverging but equally valid paths, culminating in a satisfying, slyly meta ending.

The critic highlights Gerwig's meta approach that foregrounds Jo's emergence as an author and stiffens the story's feminist elements while remaining faithful to the era. She singles out the multidimensional portrayals of the sisters, particularly Florence Pugh's Amy and the credible Laurie-Amy romance, along with the film's emphasis on economic realities and female bonds.

The critic calls it a splendid version that soars with strong messages and even stronger emotions, highlighting its emotional accessibility, vibrant sisterhood, and Gerwig's nonchronological approach that adds poignancy.

Gerwig's restructuring of the novel into layers of memory and nostalgia liberates the story while staying faithful to its progressive themes. The critic singles out Florence Pugh's performance as Amy for particular praise.

The review praises Gerwig's raw and startling adaptation for emphasizing women's indignation as a rousing right and for its radical outward gaze balanced with respect for home comforts. It suggests the film may be the best yet made by an American woman.

Gerwig offers a muscular, moving and often deeply funny reworking of the Louisa May Alcott classic that deconstructs and restructures the tale with meta-twists and a focus on finance as a feminist issue. The film feels like an event whose characters we’ll love for the rest of our lives, despite a few flaws like an invented proposal scene.

Gerwig's reverent adaptation is lavishly respectable and will please fans, with Chalamet as the standout lively character. Minor complaints include an overbusy score and fluctuating haircuts.

Greta Gerwig’s warm, woke take on America’s classic girlhood novel takes liberties but makes a tender, engrossing tale by splitting the sisters’ lives into interwoven timelines that feel fresh and relatable. Florence Pugh’s portrayal of Amy is the film’s star-making turn.

The review commends Gerwig for a lively, if nonlinear, retelling that does right by the material with a dream cast and shows her aptitude for studio projects. It notes the wholesome, kindhearted tale and strong performances, especially by Ronan and Pugh.

Gerwig reexamines the love triangle and character dynamics through interwoven timelines, highlighting Amy and Jo as mirrors of each other. The critic notes the film's uncertainty about Jo's ending as a thoughtful ambiguity.

Gerwig's film is a conventional yet lavishly nostalgic retelling that plays to a self-selecting audience with strong performances, especially Florence Pugh as Amy. The critic notes its self-satisfied, over-stuffed qualities alongside its appeal.

Gerwig delivers a respectful yet bracingly current adaptation that brings the March family to life with overlapping timelines and chaotic energy. The critic praises the focus on female fulfilment, creative ambition and the joyful, tumultuous performances, especially Ronan and Pugh.

Gerwig's structural audacity and focus on the sisters' relationships make this an instant classic, with standout performances from Ronan and Pugh capturing intense sibling dynamics.

Gerwig's nonlinear adaptation makes the story more cohesive with powerful character arcs and a youthful, lived-in feel. The critic singles out the terrific performances, especially from Florence Pugh and Timothée Chalamet, and the lush cinematography and score.

The critic celebrates the film's warm, big-hearted recontextualization of the story, especially its elevation of Amy as a compelling character. It singles out the vibrant world-building and joyful spirit as standout elements.

The critic praises Gerwig's ambitious non-linear adaptation for its modern take on sisterly bonds and Jo's pursuit of dreams. It singles out the strong performances, especially Ronan's Jo, for making the classic feel fresh and emotionally resonant.

Gerwig puts a new spin on the tale with a non-linear structure and more balanced focus on the sisters, resulting in a moving and meaningful interpretation. The film excels in performances, craftsmanship in scoring and design, and its organic handling of sentimentality and feminist themes without manipulation.

Gerwig's adaptation affirms the need for a new version by emphasizing Jo's battle for independence and adding layers about money and gender inequality. The film features immaculate casting, strong performances especially from Ronan and Pugh, and excellent production values that make it feel fresh and relevant.

Gerwig treats the four March sisters as equals without judging their different desires and paths. The critic singles out the film's joyful, earnest energy, uniform cast performances (especially Pugh), and emphasis on kindness over conventional success.

The critic commends Gerwig for making the story her own by reframing it as a conversation between past and present, honoring Alcott while adding timeliness and insight into Amy and the Laurie-Amy romance. He notes drawbacks including a lengthy runtime where crosscutting disrupts momentum and some supporting characters feel underdeveloped compared to Ronan and Pugh's standout performances.

The critic highlights the film's daring non-linear structure and liberating costumes while noting some scenes feel strained or overly broad. It singles out the strong ensemble, particularly Streep's Aunt March and the focus on the sisters' inner lives.