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Tag: Little Women

Editorials

Top 10 Films at the UK Box Office in 2020 (So Far)

May 22, 2020
The 2020 Box Office [Sources: Cineworld Cinemas,The Guardian; imdb]

With UK cinemas still closed we may as well run down 2020’s highest box office grossers so far. Today I’ll look at how much the highest earners took at the UK Box office (using Box Office Mojo and Google Money Converter). These numbers are rounded to the nearest hundred thousand and are correct at the time of writing (20/05/20)) and what critics; audiences thought of them.

10. Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn (£9,400,000)

Cathy Yan’s DC Universe offering sees Harley Quinn teaming up with a group of female heroines to fight against the evil Black Mask.

Audience Thoughts: 78% – Rotten Tomatoes / 6.2 – IMDb

Critics Thoughts: “While watching Birds of Prey, it becomes clear that comic book movies are still going to dominate the box office for many years to come. If any of those could be as much fun…then we would be over the moon.

Harley Quinn and the Birds of Prey
Harley Quinn and the Birds of Prey swoop into 10th place at the UK Box Office [Source: Empire]

9. Parasite (£12,000,000)

Bong Joon Ho’s Best Picture winner sees the poor Kim family scam their way into working for the rich Park family. But do the Kim’s deserve our sympathy and what secrets are the Park’s hiding?

Audience Thoughts: 90% – Rotten Tomatoes / 8.6 – IMDb

Critics Thoughts: “It’s dark, funny, clever, surprising, and I’m sure I could use almost every adjective in my lexicon.

Parasite
Best Picture Winner, Parasite smashes into 9th place [Source: Americamagazine.org]

8. The Gentlemen (£12,300,000)

Guy Ritchie’s latest gangster films focused on an American marijuana emperor trying to leave the business. But various factions conspire to extort him for all he’s worth.

Audience Thoughts: 84% – Rotten Tomatoes / 7.9 – IMDb

Critics Thoughts: “It is a coarse, convoluted, comical caper that exults in the joys of genre.”

The Gentlemen
The Gentlemen swan into 8th place [Source: Den of Geek]

7. Jumanji: The Next Level (£16,100,000)

The gang from Jumanji: Welcome to the Jungle, along with new additions Danny Glover and Danny DeVito, return to Jumanji to face new challenges. 

Audience Thoughts: 87% – Rotten Tomatoes / 6.7 – IMDb

Critics Thoughts: “Jumanji’s next level is rather satisfying.

Jumanji
The Jumanji gang jump back into the UK Box Office [Source: Entertainment Weekly]

6. Dolittle (£16,700,000)

Robert Downey Jr. leads an all-star cast as the famous doctor who can talk to animals sets out to find a cure for an ailing young Queen Victoria.

Audience Thoughts: 76% – Rotten Tomatoes / 5.6 – IMDb

Critics Thoughts: “It really is horribly inert, and every time Downey opens his mouth to say something unintelligible, the film dies a bit more.

Robert Downey Jr as Dolittle
Despite a critical thrashing Dolittle soars into number 6 at the Box Office [Source: GamesRadar]

5. Bad Boys for Life (£17,000,000)

Mike Lowrey and Marcus Burnett must team up with a team of younger cops to take down the leaders of a violent drug cartel.

Audience Thoughts: 96% – Rotten Tomatoes / 6.7 – IMDb

Critics Thoughts: “Bad Boys for Life is … pure enjoyment and entertainment.

Bad Boys returns to the UK box office
The Bad Boys return in glorious fashion [Source: RogerEbert.com]

4. Sonic the Hedgehog (£19,100,000)

Sonic and his friend Tom race to San Francisco to find the rings to transport Sonic off-world before Dr. Robotnik catches them.

Audience Thoughts: 93% – Rotten Tomatoes / 6.6 – IMDb

Critics Thoughts: “The world contains many terrible video game movies. This isn’t one of them.

Sonic rushing into the box office top 10
Sega’s blue speedster rushes into the top 10 [Source: Hollywood Reporter]

3. Little Women (£19,400,000)

Greta Gerwig’s remake of the literary classic follows the March sisters as they experience career hardships, romance, tragedy, and triumph during and after the American Civil War.

Audience Thoughts: 92% – Rotten Tomatoes / 7.9 – IMDb

Critics Thoughts: “Though we can’t foretell whether time will be cruel or kind to Gerwig’s “Little Women,” it may just be the best film yet made by an American woman.”

Little Women stands tall at the box office
Greta Gerwig’s Little Women stands tall at number 3 [Source: Britannica]

2. Star Wars: Episode IX – The Rise of Skywalker (£20,100,000)

The Skywalker Saga concludes. Emperor Palpatine returns to threaten the galaxy. Rey and the remnants of the resistance must find a way to stop him. While contending with the rage of Kylo Ren.

Audience Thoughts: 86% – Rotten Tomatoes / 6.7 – IMDb

Critics Thoughts: “It doesn’t do anything new or even terribly distinctive, but maybe it didn’t have to. It just had to be good enough to stick the landing, and it does that.

Rise of Skywalker rises to number 2 at the uk box office
The Skywalker saga’s final swipe took the 2nd place in 2020 so far [Source: Deadline]

1. 1917 (£46,600,000)

Presented in a pseudo-continuous shot 1917 follows two soldiers tasked with physically delivering orders for a battalion to stand down before German forces kill them all.

Audience Thoughts: 88% – Rotten Tomatoes / 8.3 – IMDb

Critics Thoughts: “1917 will have you on the edge of your seat from the very first moment and will leave you breathless.

1917 is number 1 at the box office
1917 stands atop the box office [Source: Letterboxd]

This year’s top 10 collective taking may be comparatively low (over £188 million) but with a relatively diverse group of creative teams (including 2 solo female directors and a foreign-language film) and an interesting mix of tales (including three original properties not based on pre-existing work or part of larger franchises), 2020 is more interesting than 2019. Which was dominated by comic book adaptations, remakes, and sequels to popular franchises (mostly from Disney and their subsidiaries). Hopefully, the upcoming months will bare good tidings for UK cinemas.

Also Read: What Happens To Your Brain When Watching A Horror Film

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Editorials

“Little Women” & Cinema for the Self Partnered

December 26, 2019
Little Women

When Louisa May Alcott wrote Little Women she didn’t want Jo March, her fiery, emboldened, and strong-minded lead, to be married by the novel’s end. This was, like Greta Gerwig’s new film adaptation stresses, a choice of her publisher and a sign of the repressive times she lived in. Alcott herself defied that rule in real life, choosing not to marry and instead devoted herself to artistic endeavours. In fact, history is littered with literary women who decided to forego their expected life paths such as Edna St. Vincent Millay, Jane Austen, Emily Brontë, Emily Dickenson, and more. 

Gerwig’s film is really an ode to those, to borrow a phrase from one of its stars, self-partnered women. Women who have defied the confines of marriage, whose passion is just as important as their prospective nuptials. As Gerwig said of her aspirations for Jo’s relationship with the audience, ‘What if you felt when she gets her book, the way you generally feel about a girl getting kissed?’ Thus can you imagine, if we cared as much about a woman’s achievements as we do whether or not anyone puts a ring on it? 

The Cast of Little Women
Little Women (credit: Sony Pictures)

Gerwig rearranges the story thematically and structurally to breathe new life into it on screen and puts marriage firmly at the centre. The film begins with the March sisters on the precipice of adulthood. Jo (Saoirse Ronan) is living in New York writing wild stories about violence because that’s what sells. Meg (Emma Watson), the eldest sister, is living in marital bliss with two young children – except she’s broke. Amy (Florence Pugh) is in Paris, practising her painting and being courted by the super-rich Fred Vaughn, and Beth (Eliza Scanlen) the youngest, is at home with her mother, her heart weakened by a bout of scarlet fever. They’re four twenty-something women with their childhood in the rear-view, their memories and losses framing the decisions they make. Meg is releasing the life she aspired for isn’t always perfect while both Jo and Amy navigate the decision on who to marry or if they should marry at all. 

‘I’d rather be a free spinster and paddle my own canoe,’ Jo says (a line lifted from Alcott’s journals), though she fears the loneliness of such a life, even if she believes that women are capable of more than just love. While Amy sees marriage as an economic proposition, something she can use to support her family. ‘I believe we have some power over who we love, it isn’t something that just happens to a person,’ she says, in a debate that frames her as sensible and explicitly aware of her role in the world. How a woman approaches that role and marriage, be it with contempt of Jo, the practicality of Amy, or head-over-heels love of Meg, is something that still lingers today. 

Florence Pugh in Little Women
Little Women (credit: Sony Pictures)

The shape of marriage in our modern world is shifting. It’s moving away from its history as a business transaction (one that could procure a dowry and help business) and toward being the pinnacle of romantic idealism. Just entirely how that happened, no one is really sure. Capitalism undoubtedly played a significant role – the selling of the ‘dream wedding’ to women soared as a business since Victorian times. Then, of course, came the idea of ‘marrying for love’, a new way of entrapping young singles when their betrothal didn’t come with the promise of a small plot of land and a few cows to boot.  

The fact is that marrying for ‘love’ only entered our collective consciousness around 250 years ago. Before then it was merely one of several factors to be considered when pairing up young singles (and, dear reader let me tell you, it wasn’t very high up the list of concerns either). As Stephanie Coontz wrote in her book Marriage, a History, “it was inconceivable that people would choose their mate on the basis of something as fragile and irrational as love.” And, while people did indeed fall in love, the choice to marry because it was seen as a threat to a particular social order, one that could risk men and women abandoning their commitments to family, neighbours, and, above all, God. 

Even if marriage has rebranded itself as the symbol of ‘everlasting true love’, does that mean it can outrun its deeply gendered history? The gendered concepts of such a union are still unavoidable with a 2014 study of Harvard Law School graduates showing that more than half of the men surveyed expected their careers to take priority over their spouses. As writer Jia Tolentino notes, in her book Trick Mirror, “gender inequality is so entrenched in straight marriage that it persists in the face of cultural change.” Thus, Jo’s (and indeed Alcott’s) disdain for settling down still seems more than reasonable and, in 2019, she wouldn’t be alone. 

The cast of Little Women
Little Women (credit: Sony Pictures)

This past year has been peppered with films that celebrated singlehood. Lorene Scafaria’s Hustlers focused on women’s ambition, sisterhood, and their refusal to continue to face abuse from the ruling classes. Chris Buck and Jennifer Lee’s Frozen 2 offered Elsa, a Queen who aspired to fulfilment and self-actualisation while being the first Disney princess to nix falling into the arms of an interchangeable price with a china doll face. Sophie Hyde’s Animals came with the view that marriage is an obstacle to a lifelong friendship rather than something to be sought after and prized. While the sad obsessive loner who ultimately commits heinous acts of violence in Todd Phillip’s Joker is #SingleGoals for faceless bros on Twitter. 

Whether it’s 2019 or 1869, marriage still looms large over society and, indeed, cinema. The choice to remain single is still a threat. As the philosopher, Alain de Botton wrote,

“Anyone who lives alone and manifests no longing to be in a relationship is – in our times – almost automatically (though more or less secretly) viewed as both pitiable and deeply troubled. It’s simply not thought possible to be at once alone and normal.” 

– Alain de Botton

Do any of the Little Women end up alone you ask? Gerwig wants you to think so as she suggests that the ending of Jo’s novel (which sees her fall into the arms of a man) isn’t the one Jo chooses for herself and this is an act of tribute to Alcott. It blends the author and fictional character together even further. Gerwig chooses, as Alcott did, not to follow what is expected, to defy the end of the novel and say, boldly, that marriage is not all a woman is fit for, both then and now. 

Little Women is in cinemas nationwide on 26th December.

Also Read: How To Revive A Franchise After Many Years

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