We Gotta Get Outta This Place: Review of Lady Bird

Lady Bird

Director: Greta Gerwig

By Alex Watson

Greta Gerwig emerges as a talent to watch behind the camera. Lady Bird is a picture that sparkles and gives a deep yet hilarious look at the angst of youth. Dealing with people experiencing an identity crisis and the typical back and forth arguments between mother and daughter- Gerwig's movie feels refreshingly real. Although alongside the laughs there is a heavy emotional core that will audiences all the way to the bone.

Sacramento teenager Christine 'Lady Bird' McPherson (Saoirse Ronan) is a high school senior who desperately wants out of her modest California life. Eager to leave home for illustrious college's on the East Coast, Lady Bird continuously bickers with her mother Marion (Laurie Metcalfe) over her future plans. Her family is facing a crisis since her father Larry (Tracy Letts) has been laid off. Although she is capable- Lady Bird must do far better to reach her dreams.

Early on in Lady Bird, Gerwig gives a close-up example of the problematic relationship between Christine and Marion. We first see the pair returning from a college tour crying over an audio tape of 'The Grapes of Wrath'. Initially, the pair lovingly reflects on it. Within moments, Marion is nagging her daughter over her apathy about her future which soon descends into her berating her to the point where Christine physically jumps out the vehicle. Marion is a character wracked by self-doubt and anxiety and her failure to inspire or connect with her daughter pains her. By no means is either character completely likable-Christine is a fiercely independent creature who chafes under the rule of her underbearing mother. Desperate for life on the East Coast where 'writers live in the woods' Christine attempts musical theatre as a way of boosting her college prospects.

Set in 2002 during Bush's America, money and wealth is also a talking point in this picture. The McPherson's are a family barely holding their head above water. Larry has struggled with depression and being out of work has put a huge financial strain on them. Despite this, he is still willing to help his daughter with her financial aid forms. When Christine befriends wealthy and popular Jenna (Odeya Rush) she pretends she lives in a big luxurious house in an affluent neighbourhood. Gerwig puts a good spin on the pain, angst, and joy or teenage crushes. Danny (Lucas Hedges) appears to have it the complete package- wealthy, handsome and from a close-knit Irish-Catholic family. However, in one subtle yet brilliant reveal, Gerwig superbly shatters Christine's portrait of him. Dreamy rocker and wannabe philosopher Kyle (Timothée Chalamet) is the boy who seems so wrong to us but a figure of aloof desire to her.

Lady Bird is heavily inspired by Gerwig's own experiences before going off to college. This is the element that makes her directorial debut feel so raw and real. Christine and Marion are the driving force of the movie and this is possibly the most realistic mother-daughter depiction you will ever see. Marion only wants the best for Christine- but that doesn't stop her from continually observing her flaws and picking her unrealistic expectations. Christine is also blind to just how much work her mother puts into keeping the family together. Though Gerwig is always careful to remind us how each insult comes from a place of affection. Few debuts are as assured or genuine as this one- being the best-reviewed movie on Rotten Tomatoes in 2017 speaks volumes

Irish actress Saoirse Ronan once again is on firecracker form as Christine. Perfectly channeling her character's desperation to be something other than ordinary, Ronan is well cast. One of Hollywood's strongest young actresses, the 23-year-old never seeks for us to love this character- only to understand where she is coming from. Laurie Metcalfe should be the favourite on every person's supporting actress list. Known to audiences from her time on Broadway and as Sheldon Cooper's mother in Big Bang Theory. Metcalfe gives a supporting turn of sheer power and immense depth. Her Marion is a character that is always criticizing her daughter's choices. Through Metcalfe, we come to realize her words although cutting are actually being said of out love. 

Lady Bird is more than just a critic's darling this award season. Few indie efforts feels as polished or emotionally engaging as this one. Another hit for A24, who have been the studio to beat this year.

Sister Act: Review of Mistress America

Mistress America

Director: Noah Baumbach

By Alex Watson

Once again director Noah Baumbach has created an original and sharp piece of work that is a return to the great screwball comedies of old. Focusing mainly on two women who are the opposite of one another, a pair of fine lead performances set the scene for a believable yet zany ride. Baumbach has recently been on a fine run of form with his comedies While We're Young and Francis Ha, his new picture Mistress America continues this great run. 

While studying in New York, freshman student Tracy (Lola Kirke) meets with her soon-to-be step sister Brooke (Greta Gerwig). Soon the pair become inseparable and Tracy seems to feed off Brooke endless positive energy. When her plans to open a popular restaurant, Brooke has to borrow money elsewhere. This will lead to a road trip to Greenwich, Connecticut where all things will come crashing together. 

Mistress America's primary function is the study of the relationship between Brooke and Tracy. Living in the Big Apple, Tracy is quickly drowning and latches on to the first guy she meets. She has intent to join a literary society but her writing doesn't seem to make the grade. When Brooke arrives in her life it at first opens up a whole new world for her. Brooke seems to thrive on life itself and she is a woman with endless delusions of making her mark on this world.  The movie's first half centers on the conversations they have. Unveiling a unique wit that is hard to beat, this meeting of opposites is one that becomes memorable quickly.

Slowly Brooke becomes the focal point of Tracy's new short story she is writing and Brooke tries to go ahead with a restaurant-community centre. While Brooke tears through scenes with a boundless energy, there is also a highly self-absorbed feel about the two leads. One scene Brooke finds herself confronted by an old high school nemesis for mistreating her, to which she merely shrugs it off as nothing. Baumbach also smartly asks just what exactly the pair is looking to get of one another? While Tracy has become almost dependent on her future sisters company she also seems to view Brooke more as a material than a true friend. 

The third act of Mistress America plays out almost like a live action stage play as our leads travel to Greenwich, Connecticut. Here Brooke is intent on borrowing money from her old nemesis and her former ex boyfriend. Events in this section are staged perfectly and Baumbach has any number of elements to keep things interesting. A pregnant friend who is always waiting to picked up and a suspicious neighbour are among the quirky characters on display. Wisely although there are confrontations galore, Baumbach wisely keeps a lid on things and it never once descends into a shouting contest. In the midst of the bottled up emotions there are winds of change hanging on air and after this visit, friendships will become changed. 

Baumbach's creative and romantic partner, Greta Gerwig shows just why this guy should cast her in everything. Showing a great comedic touch along with a highly vulnerable feel, Gerwig is very much the movies ace in the deck. Registering almost immediately, she is a tour de force throughout playing both hipster and wannabe business mogul.  Gerwig has the kind of moxie that Academy voters often love. Lola Kirke in a more silent turn is fine in her own right and provides the movie with a more passive feel. Underneath her almost shy and retiring appearance beats the heart of a real creative thinker. Kirke is very much the voice of reason of the two leads. 

Mistress America is a movie that hopefully will a least one name with a nomination this awards season. Ignited by the fine lead turns of Gerwig and Kirke, Baumbach is fast becoming the new indie film king of his generation.