If it's Oscar-nominated, Australian, found footage or made-for-television, it's hopefully already in my watchlist.
It’s difficult to adapt Austen poorly since her characters are so well-defined and the plotting builds so steadily. But contrasted with the 2009 miniseries with Romola Garai, which I’d call the definitive version thus far, the shortcomings are apparent. Garai can act circles around Anya Taylor-Joy, who seems entirely out of her depth. The first half feels quite twee, but it does eventually begin hitting more sincere emotional notes. Alexandra Byrne‘s costumes are exceptional.
Not sure any environmentalist movie will ever have a carbon footprint as big as this one since something blows up every ten minutes. Seagal, directing for the only time ever, certainly has a visual sense and some of the action set pieces are fun. But it’s all so ridiculous without being in any way self-aware, typified by John C. McGinley’s performance that aims for menace and falls far from the mark. The way everyone endlessly describes Seagal in the most flattering terms gives away what a wild vanity project this is.
The height of hubris for Gerwig to think she could improve upon Louisa May Alcott’s structure. By fracturing the timeline, it cuts most character arcs off at the knees. Emotional moments are dulled or simply don’t work. To compensate, the tone is manic as characters are constantly breathless, giggling and smiling to suggest connections that otherwise aren’t established. Contrasted with Gillian Armstrong’s warm, heartfelt, definitive 1994 version, it’s an abject failure.
I wouldn't see another film projected at 48 fps if I were held at gunpoint. In the state of the art venue I saw The Hobbit, the film looked like it was being screened in fast-motion. It was distractingly cartoonish and never managed to trick the eye in the way 24 fps does.
Issues with the projection aside, The Hobbit: An Unexpected Journey is deeply problematic despite the artistry of its production design, effects and sound work. This story is…