average Ratings=7,5 / 10 stars Liked it=12501 votes abstract=Emma. is a movie starring Anya Taylor-Joy, Johnny Flynn, and Mia Goth. In 1800s England, a well meaning but selfish young woman meddles in the love lives of her friends Cast=Johnny Flynn, Angus Imrie
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There was a problem filtering reviews right now. Please try again later. Reviewed in the United States on March 20, 2020 If I am paying $20 to rent I should be getting a digital copy!
Reviewed in the United States on March 20, 2020 Verified Purchase I am sitting here alone, in the midst of quarantine, because the rest of my family couldn't handle this movie any longer and fled. I have not left my house in five days, but death by coronavirus would be more merciful than continuing to watch this movie. Everyone in this movie is so unlikable, which is not Jane Austen's fault. The other versions were good. The only saving grace is Chummy from "Call the Midwife. "
Reviewed in the United States on March 20, 2020 This is the purchase price for the movie. Ridiculous. Supposed to look altruistic, but it's a simple moneymaker for amazon. Sad. Won't be buying or renting.
Reviewed in the United States on March 20, 2020 Verified Purchase Sets, scenery and costumes are fantastic - the colors magical and so well done. I have seen all versions of Emma as well as read the book more times that I can count and this is by far my least favorite. Story and characters are not well developed and I would think that if you didn't know the story, it would be confusing. Very cartoonish and at times awkward and choppy. I feel the only real characters that viewers get to know and enjoy are Mr. Woodhouse & Mrs. Bates. The character Emma lives a privileged, meddlesome life but always tries to do good and be kind. This version shows her more as an annoyed, spoiled brat with no real intention of kindness or concern for happiness except her own. And what is with the nosebleed scene?!?
Reviewed in the United States on March 20, 2020 Verified Purchase The only thing I could really appreciate were the decadent costumes, set design and location! Stunning in that regard. But I could not warm up to ANY of those characters, which is a HORRIBLE commentary. I am shocked how bad this was, having seen several other Emma adaptations. What a money making racket. They knew Emma would be a cash cow (with a huge Austen fan base). The 1996 movie is far more beautiful, sentimental, human, relatable. There is zero chemistry of any kind between the love interests, that alone is what qualifies this movie as a comedy. Seriously, watch Austenland instead. Don’t waste your money renting this for ANY price. Amazon reviews are reliable; we know that!
Reviewed in the United States on March 20, 2020 Verified Purchase I was hesitant to see this in theaters due to COVID-19. So glad they made it available here. I have to say, of all the versions of EMMA that I've seen [and I think I've seen all of them... ] this one shines. The acting is spot on, the costumes are incredible, the sets are a feast for the eyes. Prior to this my favorite version of EMMA was the 1995 version with Kate Beckinsale, but I have to say Anna Taylor-Joy captures the haughtiness and sensitivity of the character so much more. Finally: As a professional fashion historian I appreciate that SO many of the vignettes and scenes seemed to come directly from popular Georgian engravings... Such a treat!!!
Reviewed in the United States on March 20, 2020 Verified Purchase A bit slow moving, particularly for the masses, and only appreciated, perhaps, if you know the history of the time period. However, idyllic scenery, beautiful costuming, and the delightful Bill Nighy, in a part that could have used beefing up.
Reviewed in the United States on March 20, 2020 Verified Purchase Absolutely beautiful. There were a few iconic story parts that were left out or told in a different light, but none of this took away from the overall story. Autumn de Wilde did a marvelous job letting some of the minor characters have a voice. I cannot wait to watch a third and fourth time!

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Credit... Jingyu Lin for The New York Times Reporter’s Notebook Other movie versions of the Jane Austen heroine emphasized her charms. This time she doesn’t care about pleasing her audience. Anya Taylor-Joy, left, the star of the new “Emma, ” and her director, Autumn de Wilde. Jingyu Lin for The New York Times There’s a moment toward the end of Jane Austen’s “Emma, ” when the heroine goes to a picnic and is horrified to discover that she is not as wonderful as she once believed. Bored and careless of other people’s feelings, she makes a cutting remark that is meant to be witty but ends up humiliating its target, the kindly, twittery, tedious professional spinster Miss Bates. It’s one of those instances that turns everything around, for a story and for a character. But how to get the tone right while filming it? How awful should Emma be before she learns not to be awful at all? That was the problem facing the director Autumn de Wilde, whose “Emma” features a heroine (played by Anya Taylor-Joy) destined to try the patience of the audience. In this case, de Wilde filmed the scene several different ways, ultimately rejecting the cruelest version in favor of one in which Emma is not vicious so much as thoughtless. “She’s not a bad person; she’s not a psychopath, ” de Wilde said recently, on a visit to New York. “She has a magic to her” — a charismatic charm — but she’s also “a misguided, spoiled, selfish girl. ” Emma, at least as the novel begins, is queen of her tiny neighborhood and the most problematic, and hardest to like, of Austen’s best-known heroines. She doesn’t have Elizabeth Bennet ’s playful sense of humor about herself, or Elinor Dashwood ’s maturity, or Anne Elliot ’s deep understanding of her place in the world. Instead, Emma has lived “nearly 21 years in the world with very little to distress or vex her, ” Austen writes — spoiled from having had “rather too much her own way, and a disposition to think a little too well of herself. ” That is one challenge; the other is the burden, if that is the right word, of remaking something that has often been remade before. There have been three other “Emma” movies in the last 15 years, four if you go back to 1995 and include “Clueless, ” the “Emma”-inspired comedy set in the cutthroat world of a Southern California high school. Mostly they emphasized Emma’s charm over her shortcomings. Even when we are exasperated by Emma — or, actually, by Gwyneth Paltrow, or Kate Beckinsale, or Romola Garai, or Alicia Silverstone — we can’t help but find her delightful. Image Credit... Focus Features But Taylor-Joy, 23, came to the part animated, she said in an interview, by Austen’s own description of Emma as “a heroine whom no one but myself will much like. ” She is perhaps best known for portraying people in extremis: the possibly possessed 17th-century farmer’s daughter in “The Witch” (2016) and one of the girls trapped in the basement by the psychopathic James McAvoy in M. Night Shyamalan’s horror movie “Split” (2017). She plays Emma with style and attitude and sharpness, as if the character has stepped out of a Regency England version of “Mean Girls. ” If every era gets its own “Emma, ” perhaps the time is right for one whose job is not always to please the audience. “I was really sick of women having to be not just likable, but also easy to like, ” Taylor-Joy said. “Whenever she had a bad moment, I wanted it to be a moment in which people would see her behaving badly. ” In the film, Taylor-Joy wears true-to-the-period gowns that are not always flattering (one has a neckline so high that it appears to be choking her). Meanwhile, her hair is corralled into tight curls on either side of her face, à la Nellie in “Little House on the Prairie” and when she is displeased, she can look as if she’s sucking on a lemon drop. The film emphasizes Taylor-Joy’s striking, almost otherworldly appearance but at times plays down her natural physical appeal in the service of her character’s haughtiness. “Too many decisions are made in order to make girls look attractive to modern audiences, ” de Wilde said. “We’re moving into a time, luckily, where we can have Emma be as I wanted to depict her, as she was in my mind. ” If her vision of Emma was daring, so was de Wilde as a daring choice. A photographer and music-video director known for her meticulous composition and witty eye, she had never directed a feature film before. (You can see her photographic work in the film’s poster, which she also shot. ) In the interview, she had a ready answer to the question of why we need another Emma: Why not? “No one would ever say that about ‘King Lear’ or ‘Romeo and Juliet, ’” she said. “When something is as well-written as ‘Emma, ’ there are endless possibilities to grab on to with your interpretation. ” What she wanted to emphasize were the poignancy of the relationship between Emma and her less well-born friend Harriet, as Emma realizes how wrong she has been to meddle in Harriet’s love life; and the dead-on humor with which Austen skewers small-town life. De Wilde envisioned the movie as part romantic comedy, part slapstick, and got her actors to watch the Cary Grant-Katharine Hepburn classic “Bringing Up Baby” to set the right mood. For Mr. Knightley, Emma’s neighbor, voice of reason and love interest, she wanted someone sexy and a little bit dangerous rather than pedantic and preachy, as the character can too often seem. She cast the British musician and actor Johnny Flynn, who exudes a non-Regency sex appeal. “I called up a musician friend of mine in England and I said, ‘If you were to pick a British actor who you would have a crush on, who would it be? ’” she recalled. “He sent me five photos of Johnny Flynn. He said, ‘I want to be Johnny Flynn; I’m in love with Johnny Flynn; my fiancée is in love with Johnny Flynn. ” Miss Bates is played by Miranda Hart (“Call the Midwife”) who has an almost uncanny ability to combine physical comedy with pathos. She and the director are both very tall — each 6-foot-2, de Wilde said — and de Wilde has a particular sympathy for the humiliated Miss Bates during the picnic at Box Hill because she herself was bullied as a girl. “She’s taller than Emma; she’s in Emma’s way; she’s a spinster, ” de Wilde said. “She is a giant woman who is mad and joyous but talks too much and is annoying. What I wanted was the audience to go along laughing at her so by the time we get to Box Hill, they realize they have become part of the bullying — and they regret their laughter. ” She added: “If that scene at Box Hill doesn’t break your heart, the movie is ruined — it’s over. ” She cast the great British character actor Bill Nighy as Mr. Woodhouse, Emma’s super-nervous father — afraid of change, afraid of drafts, afraid that he or the people he loves will catch cold or move away or get married or be beset by some other calamity. “He’s a valetudinarian as opposed to a hypochondriac, who is entirely concerned with their own health — he’s obsessively concerned with everybody else’s, ” Nighy said in an interview. He had never read Jane Austen and was a little wary of period dramas, he said, but was tickled by de Wilde’s concept for the character. “The idea of the uptight, paranoid, nervous Englishman makes me laugh, and there is a great pleasure in playing that kind of character, ” said Nighy, who spends much of the movie positioned next to the fire in his drawing room, protected from the draft by screens whose choreographed positioning and repositioning makes them almost a character unto themselves. Emma’s patience for her father’s neuroses is expressed in the tender, loving way Taylor-Joy treats Nighy in their scenes together. But she has a lot to learn about the other people in her life, and the film emphasizes the felicity in the way she makes amends — a rare and happy thing in our one-strike-and-you’re-canceled era. (And of course she finds love, because “Emma, ” after all, is a romantic comedy. ) “Nowadays people are so quick to condemn, ” de Wilde said, “and so it’s really nice to watch someone make mistakes, and grow, and redeem themselves. ”.

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