‘Little Women’ Review: Greta Gerwig’s Adaptation of a Classic Tale Reaffirms Its Impact

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Greta Gerwig’s follow-up to Lady Bird is not the same sort of coming-of-age film that she brought to the screen years two prior, but another adaptation of Louisa May Alcott’s classic story. Although it may be a story that has been adapted numerous times to the screens, whether they be for television or for the cinema, it carries a timeless quality to it that only makes it feel fresh no matter how many times it may be told. It’s a film that feels almost like you’re being wrapped comfortably within a blanket, but the more it continues flashing back and forth it also shows that there’s always a newer way to bring timeless stories of the sort to modern audiences, and for what’s only Gerwig’s second feature as a writer-director, it feels as if she’s on her way to becoming a talent for a generation.

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Flatliners (2017) – Review

½

The original Flatliners from 1990 always had carried nothing more than an absolutely ridiculous premise, so it’s among many of the reasons the existence of this new film is baffling. Being a sequel to said film, it was already hard enough distinguishing it as such when it barely even feels like such and more along the lines of a lazy remake – and even if it were said to be a remake, it wouldn’t change just how cheap everything feels on its own. But among many more reasons I’m absolutely baffled at the existence of Flatliners is the extent to which it will be gathering any of its appeal because many theater trips I’ve made within the past few months have shown at least one trailer (to quite an annoying degree) – only to find here I’m unsure what Niels Arden Oplev even wanted to make.

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