It is a clever stab at autofiction as well as a warm, generous film, full of love for the sisterhood. Gerwig rejigs the timeline to put a greater emphasiss on Jo’s writing career and toys with our expectations of what might happen and why. Many didn’t think anything could compete with the 1994 classic, but Greta Gerwig’s remake offers something entirely different. Winona Ryder is brilliantly spirited as Jo in this adaptation of the Louisa May Alcott novel and Kirsten Dunst does a great angry face as young Amy. The four March sisters become women as they navigate genteel poverty in Massachusetts amid New England’s stunning autumnal landscapes and the various challenges of class, sexism and potential romances with the wrong people. Audrey Tautou brings unforgettable flair to the main part and Paris has never looked prettier. This whimsical love story about a lonely young woman in Montmartre, and her penchant for helping eccentric strangers find happiness, remains a real charmer. Harry Potter and the Prisoner of Azkaban is probably the best film in the franchise (Warner Bros.) Amélie (2001) Director Alfonso Cuarón took over from Chris Columbus with this one, and it shows in the aesthetics (less uniform, more grown-up cinematography) and the plot, with burgeoning adolescence and some real emotional shocks. The whole franchise lends itself to an afternoon in front of the television with a fire going, but this one, with Sirius Black and the Dementors, is probably the best. Harry Potter and the Prisoner of Azkaban (2004)
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