Monday, June 24, 2013

91% Frances Ha

All Critics (100) | Top Critics (35) | Fresh (91) | Rotten (9)

It's a tribute to Gerwig's performance, somehow both clumsy and elegant, that she wins us over despite ourselves, that we come to appreciate her aimlessness in a goal-oriented society ...

This is an odd film (creepier than it knows), and even if you feel the atmospheric company of Dunham-ism, with a little of Whit Stillman, Henry Jaglom, and Woody Allen, the core influence on Noah Baumbach's film is fifty years older or more.

Baumbach usually builds his films around difficult protagonists, but Frances is entirely endearing, at once silly and deep, hopeless and promising.

The dialogue and editing are zippy and generally charming, combining with the tart observations of 20-something culture to create a nice frisson.

A black-and-white salute to the French New Wave (the score is borrowed from Georges Delerue, composer of many a Truffaut and Godard film) that manages to be very much of this moment ...

The movie's a love letter to an actress and her character, but by the end you may feel like an intervention is more in order.

As long as you remember to laugh, Frances Ha is a tolerable experience. Forget the "ha ha" and Frances Ha is beyond unbearable. I found this an odd and often frustrating truth, but it's what makes Noah Baumbach's new movie a success.

Gerwig keeps you on side and rooting for Frances to get her act together in what becomes an affectionate salute to messy lives, an endearing underachiever and a New York state of mind.

Don't be fooled by Frances with all her feigned insecurity and branding of herself as "undateable" and predicting she'll be a lonely spinster. She's a psychopath.

Gerwig's deft screwball timing turns every disaster into a grace note. This may be a comedy of awkwardness, but rather than curl, your toes will tap.

A refreshing amount of buoyancy to dance and charm its way through Quarter-Life Crisis territory. One of the best performances of Greta Gerwig's career to date

Frances Ha is a sympathetic but not uncritical depiction of a girl's gradual evolution into a woman; one that never condescends by forcing her to abandon all her quirks and impish qualities in the final act... An absolute delight, this is.

Indie darling Gerwig has a great deal to do with the picture's success: she's disarmingly likable...

There's a level of audacity beneath the lightweight whimsy in this unassuming low-budget comedy.

"Frances Ha makes a star out of Gerwig, and she's the kind of star we need: a goofy one we can feel tender about but never underestimate."

'I can't account for my own bruises,' Frances says, as if she were a clumsy kid with an adult's vocabulary. Does the remark refer to more than the abrasions on her skin?

A celebration of cinema, New York City and the distinctive charms of actress Greta Gerwig, Frances Ha was co-written by Gerwig and its director, Noah Baumbach, and it's the best film either has made.

There's a thin line between comedy and tragedy, and Greta Gerwig walks it remarkably well.

There's depth and realism in the way Frances Ha shows aspiration versus reality.

Gerwig, beyond a doubt, is immeasurably appealing, and Frances Ha is tailor-made to showcase her gifts better than anything she's ever been in.

...if you hold your nose and simply wallow through the stench of self-aggrandizement, you'll be rewarded with an experience that will actually tug on your emotions.

Frances Ha provides a sharp, fleet, and very funny look at female friendship and the acceptance of adult responsibilities.

This is very minimalist storytelling much of which feels improvised in front of the camera. The film is more of a character situation than a character story.

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