movie film review | chris tookey

Lady Bird

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  Lady Bird Review
Tookey's Rating
8 /10
Average Rating
8.83 /10
Saoirse Ronan , Laurie Metcalf , Tracy Letts
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Directed by: Greta Gerwig
Written by: Greta Gerwig

Released: 2017
Genre: DRAMA
Origin: US
Length: 93

PRO Reviews

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What Greta Gerwig has done — and it’s by no means a small accomplishment — is to infuse one of the most convention-bound, rose-colored genres in American cinema with freshness and surprise.
(A.O. Scott, New York Times)
There are a few fearful moments when you think the movie will be a collection of affectations. But the characters are too real, Gerwig’s eye for the adolescent lives of young women too keen.
(Gary Thompson, Philadelphia Daily News)
The kind of modest, miraculous low-budget gem that takes on a life of its own.
(Peter Debruge, Variety)
Anyone who’s lived within the emotional cyclone known as adolescence will recognize the vertiginous highs and lows of Lady Bird.
(Ann Hornaday, Washington Post)
You want to give thanks for how wonderful it is, how wise and funny and full of grace.
(Joe Morgenstern, Wall Street Journal)
This coming-of-age film drills down into the intimate micro-contradictions of life even as it explodes onscreen with many visually problematic ones.
(Bob Hoose, Plugged In)
A striking directorial debut by Greta Gerwig, this tender, semi-autobiographical love letter to Gerwig's hometown explores the gulf between childhood and adulthood with touching, witty humor.
(Jeffrey M. Anderson, Common Sense Media)
Greta Gerwig is spreading her wings as a filmmaker — and she soars with Lady Bird.
(Amy Rowe, New York Daily News)
Everything comes together for Greta Gerwig in her marvelous solo directorial debut, Lady Bird.
(David Edelstein, Vulture)
A coming-of-age story like no other, Lady Bird is smart, emotional, funny and completely original. Rarely has a directorial debut been so assured, so singular and so heartwarmingly affecting.
(Terri White, Empire)
Though the film gives us milestones from Lady Bird’s coming of age, its key preoccupation is the jagged relationship between Lady Bird and her mother Marion (Laurie Metcalf), an overworked nurse whose blunt pragmatism butts heads w000000ith her daughter’s dreams of moving to New York, “where culture is”. The scenes between Ronan and Metcalf are electric; Gerwig maps their inability to communicate with excruciating veracity. However, it is Gerwig’s tidy pacing, vividly drawn characters (see Timothee Chalamet’s bit-part as a floppy-haired mobile phone sceptic who smokes roll-ups and “trying as much as possible not to participate in our economy”), and eye for period detail (like her use of the Dave Matthews Band) that mark her as a keen observer of the small things that make a good movie great. Her writing is alive with beautiful bon mots, but also an acute sense of class anxiety in post-9/11, pre-financial crash suburban America, with the McPherson family’s worries about Lady Bird’s tuition fees given as much screen time as her romantic exploits.
(Simran Hans, Observer)
Gerwig's deft handling of script, camera and actors is all the more impressive given that this is her first film as solo director.
(Ed Potton, Times)
A gloriously funny and wistfully autobiographical coming-of-age comedy.
(Peter Bradshaw, Guardian)
If Gerwig is capable of all this in her first solo feature, who knows what feats of woodwork she'll craft for us next.
(Tim Robey, Daily Telegraph)
Writer-director Gerwig manages brilliantly the delicate feat of portraying the vulnerabilities and eccentricities of the townsfolk without patronising them.
(Geoffrey Macnab, Independent)
Almost everything here bespeaks Gerwig, including the cast's tendency to act one line or dramatic moment with breezy brio, as if already on the run to the next. Very GG
(Nigel Andrews, Financial Times)
Restraint... gives the film its credibility and charm.
(Andy Lea, Daily Express)

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