Female Film Critics 24/375
Advertised as an absurdist comedy, Noah Baumbach’s White Noise is neither fanciful nor funny. Adapted by Baumbach from Dom DiLillo’s minimalist satire, it revolves around how a Midwestern family in the 1980s copes with an environmental disaster and their fears of death.
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White Noise is just that – a bunch of white noise. Psycho babble. Constant talking over one another about the state of the world and the well being of one particular family in 1985 America. Jack and Babette are an existential Mike and Carol Brady. Divorcées with a blended family who must learn to get along with each other as well as the ever changing world. While grappling with consumerism on the home front, the tackle fear and the unknown when forced to evacuate their neighborhood due to an Airborne Toxic Event,
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In White Noise, Noah Baumbach again, and comically, proves he knows exactly how to excavate the dynamic inner workings of a family and the dysfunctional society which empowers its members. At face value, the ironically named Gladney family offers a spectrum of amusing individuals. Central is J.A.K. i.e., Jack, Professor of Hitler Studies at the College-on-the-Hill, proudly lectures in the classroom.
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Nominated for six Academy Awards, including Best Picture, writer-director Greta Gerwig’s fresh, modern adaptation of the timeless Louisa May Alcott masterpiece Little Women will be released on Digital March 10 and Blu-ray and DVD April 7 from Sony Pictures Home Entertainment.
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The Academy of Motion Picture Arts and Sciences has faced widespread criticism for the dearth of diversity among the top nominees as well as the exclusion female filmmakers at its upcoming 92nd Annual Academy Awards to be held February 9.
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The 2019 roster of AWFJ EDA Award winners is noticeably diverse and inclusive. No single film dominates the list, but Parasite leads all films this year with four EDA Awards, followed by Greta Gerwig’s Little Women with three EDA awards.
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Beloved by generations of female readers, Alcott’s tale of four sisters growing up in genteel poverty in 1860s Massachusetts remains one of the few American literary classics penned by a woman. Published in two volumes in 1868 and 1869, it unfurled the lives of the March girls in chronological order, starting with their teen years into their becoming “Little Women.”
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Louisa May Alcott wrote a little book about little women. It became a classic. She never meant for the autobiographical tale of her life in the 19th-century, after the Civil War, to be a book for children. It is not — that’s “women” in her title, not “girls.”
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Did we need another film version of Louisa May Alcott’s classic novel? Turns out the answer is a resounding “Hell, yes!” Writer-director Greta Gerwig has given us an absolute treasure of a movie, one that is, for a wonder, hugely faithful to the book in the broad sweep yet also skeptical of it in just the right way.
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Since Greta Gerwig’s Ladybird was one of my 2017 favorites, I had high hopes for her version of Louisa Mae Alcott’s classic story, but she butchers it! Rather than relate it chronologically, Gerwig shuffles, subverts and skips pivotal scenes, except for the opening Christmas letter from Father and the wryly romantic conclusion.
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