Emma: Neon NZ Review
Cast: Anya Taylor-Joy, Johnny Flynn, Miranda Hart, Bill Nighy, Mia Goth
Director: Autumn de Wilde
The latest take on Jane Austen's Emma is an admittedly starched and almost military execution of the overly familiar tale.
The VVitch star Anya Taylor-Joy delivers an initially icy take on Emma Woodhouse, the meddling socialite who dabbles in others' lives before realising she's hopelessly out of her own depth.
Guiding Mia Goth's Harriet Smith, Emma tries her best to matchmake for a local vicar. But she fails to notice the attentions of a neighbour (Flynn) until it's too late.
The overly-mannered Emma, delivered by Kiwi Eleanor Catton, is a prissy and primped affair, that teeters dangerously close to boredom levels early on.
Despite some truly sumptuous costuming and some vividly executed moments such as red-caped women recalling The Handmaid's Tale (it's clear director de Wilde comes from a promo background), the film's warmth is severely lacking early on, despite the comedy of Woodhouse Sr (the ever-wonderful Bill Nighy).
It unfortunately leads to a detachment early in proceedings, which nearly proves fatal when the moments of heart are due to overtake matters, and Catton's writing really does make it difficult to sympathise for the precocious Emma when she realises she's gone too far. (The interaction with Miranda Hart proving to be the only breath-taking moment and deeply upsetting one of the entire film.)
While it skirts around social mores and hints at class divides, there's an aloofness to this Emma that robs it of its charm (Alicia Silverstone's Clueless still remains a market leader in terms of spiky adaptations) and deprives it of an enduring appeal.
Sure, this version of Emma has some stunning visuals, and despite Taylor-Joy coming to life toward the end of the film, it's a hard journey to go on - and one that sadly offers limited rewards when considered among the pantheon of other adaptations of Austen's work.
Director: Autumn de Wilde
The latest take on Jane Austen's Emma is an admittedly starched and almost military execution of the overly familiar tale.
The VVitch star Anya Taylor-Joy delivers an initially icy take on Emma Woodhouse, the meddling socialite who dabbles in others' lives before realising she's hopelessly out of her own depth.
Guiding Mia Goth's Harriet Smith, Emma tries her best to matchmake for a local vicar. But she fails to notice the attentions of a neighbour (Flynn) until it's too late.
The overly-mannered Emma, delivered by Kiwi Eleanor Catton, is a prissy and primped affair, that teeters dangerously close to boredom levels early on.
Despite some truly sumptuous costuming and some vividly executed moments such as red-caped women recalling The Handmaid's Tale (it's clear director de Wilde comes from a promo background), the film's warmth is severely lacking early on, despite the comedy of Woodhouse Sr (the ever-wonderful Bill Nighy).
It unfortunately leads to a detachment early in proceedings, which nearly proves fatal when the moments of heart are due to overtake matters, and Catton's writing really does make it difficult to sympathise for the precocious Emma when she realises she's gone too far. (The interaction with Miranda Hart proving to be the only breath-taking moment and deeply upsetting one of the entire film.)
While it skirts around social mores and hints at class divides, there's an aloofness to this Emma that robs it of its charm (Alicia Silverstone's Clueless still remains a market leader in terms of spiky adaptations) and deprives it of an enduring appeal.
Sure, this version of Emma has some stunning visuals, and despite Taylor-Joy coming to life toward the end of the film, it's a hard journey to go on - and one that sadly offers limited rewards when considered among the pantheon of other adaptations of Austen's work.
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