Little Women

audience Reviews

92% Audience Score92%
  • 4 of 5 stars
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    Although it's have forward and backward style in storytelling, Little Women still enjoyable and nice to watch. I don't know why I can enjoy this one although it's doesn't have big scene. Maybe because the ensemble cast, maybe because Greta Gerwig directing style, or something else. But I feel love to this movie.
  • 5 of 5 stars
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    A high-quality retelling of a classic.
  • 3 of 5 stars
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    The script was the worst part about it, often having the characters talking over one another for minutes at a time. The family relations were another nonsensical aspect. The combination of cast members seemed odd and all over the place, and it lacked any real substance or plot.
  • 5 of 5 stars
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    Beautiful adaptation of amazing story
  • 5 of 5 stars
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    Well done. Loved the acting and how closely it followed the book.
  • 4 of 5 stars
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    Nostalgic and romantic! The star studded cast brought new life to the beloved literary characters.
  • 3.5 of 5 stars
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    I liked the spin on the ending, but ultimately the characters were still not that interesting.
  • 0.5 of 5 stars
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    storyline was all over the place, little women is such a good classic that they unfortunately ruined. it was like they took random scene's in the original story and jumbled them.
  • 5 of 5 stars
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    What a beautiful script and excellent acting. So refreshing to see a movie that is pure and relevant. A must see!
  • 3.5 of 5 stars
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    Reviewed 1.12.20 Greta Gerwig wrote and directed this latest version of Louisa May Alcott's classic. Saoirse Ronan is solid as always, serving up an empowered version of Jo March, as Alcott's fictional alter ego. While Florence Pugh adds strong supporting work, playing Amy with welcome dignity. Meryl Streep and Chris Cooper headline the senior roles, providing the gravitas lacking from the 1994 version of their characters. Only Timothee Chamelet seems miscast as a too boyish Laurie. Gerwig deserves all the credit she's receiving for somehow reviving a staid story in it's 7th (12th including TV versions?) go around. Her version possesses superior character development, and most originally, her masterful use of time jumping vignettes. She basically cut the book up and pastiched it back together in a more cinematic manner. Bravo! Unfortunately she eschews more deliberate identifiers, like date/location stamps, for more subtle hints, like alternating colour hues between scenes and stylistic changes for the characters. While the increased activity adds welcome excitement to her telling, it also results in a periodic sense of displacement too. Those viewers familiar with the source material will follow, and newcomers will find their way. But the challenges persist in pivotal scenes involving the relapse of beloved sister Beth, and when Jo negotiates a deal while the character in her book lives out the editor's requested fantasy ending. This is a bold return to Alcot's seminal work, loaded with vibrant energy and cinematic beauty. Gerwig's occasionally unwieldy screenplay distracts, but recreating such classic source material is no simple task. And the result feels both vital and timely. Who knew these little women had it in them.