Lady Bird Screen 86 of 9 reviews

Lady Bird


Lady Bird Poster
  • There’s an eccentric individualism to Gerwig’s nimble approach to form and flow of dialogue. Gerwig also boldly rejects the idea that stories about teenage girls have to focus on romance. Instead, Lady Bird’s arc centers on the quest for a sense of self, which speaks to the importance of having female directors tackle stories from their own points of view.

  • The film's broader shift in perspective is its most impressive, as its sympathies gradually tilt from Lady Bird, a teen desperate to transcend her upbringing, to Marion, a mother who sacrifices her time and her body for her family without reward... A uniquely American comedy, Lady Bird is testy, humane, and firmly rooted in its time and place.

  • The film’s got a slew of teenage-girl drama beats... but somehow Gerwig manages to make the many emotional arcs and moving narrative parts all work flawlessly... It’s like Gerwig knows she doesn’t have a lot of time to work with in a film narrative, so she wisely amps up the pace of the narrative and the barrel of raillery to ensure we can keep up and actually enjoy her cinematic joie de vivre.

  • An actress and occasional screenwriter best known for her work in Noah Baumbach’s movies, Ms. Gerwig turns out to be a natural filmmaker. Her solo directorial debut, “Lady Bird” is flat-out wonderful, as well as one of the best coming-of-age films since Amy Heckerling’s 1982 classic “Fast Times at Ridgemont High.”

  • Gerwig’s script has the exquisite, insightful, endlessly quotable lilt that set “Mistress America” (which she wrote and Noah Baumbach directed) aloft. “Lady Bird” isn’t consistently directed with a comparable flair, but that flair is there, especially in some later sequences, suggesting that, with her first feature, Gerwig is consciously pursuing a moderate course; if so, it’s a choice that, at the very least, is reflected strongly and clearly in the drama.

  • Greta Gerwig makes her directorial debut with this controlled, cooly compassionate and autobiographical-feeling post-9/11 teenage tale.

  • Like Louis CK, Gerwig slips in and out and around her story’s (more identifiable) beats through sharp and fresh writing, and an all-star cast: Laurie Metcalf as mom, Tracy Letts as dad, Lois Smith as a nun at school, theater old hands all. Ronan finally takes a part that isn’t vaguely otherworldly, and shines; It-Kid Timothée Chalamet plays a too-cool arty crush to perfection. Lady Bird won’t set the world on fire, but it does leave it a warmer place.

  • Gerwig has routinely described the story as semi-autobiographical, and that may be true, but one of the things that’s so likable about Lady Bird is how generously its writer-director cedes things to her cast... At this point, Gerwig is far too visible for Lady Bird to count as any kind of “discovery,” and yet, of all the movies leaving Toronto with momentum, it’s the one whose moments of spontaneity feel the least engineered—like they’ve been pulled by the filmmaker out of thin air.

  • Greta Gerwig’s debut feature is like something akin to asking a classmate to sign your yearbook and getting a detailed novella in return, or a pink plaster cast scrawled with a poem. It’s also proof that Gerwig is clearly her own muse.

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