Nowhere Boy (2009)

Few people realize how crucially formative John Lennon’s earlier years were. This biopic examines just that in a decidedly unbiased but volatile way. John (Aaron Johnson) was raised by his Aunt Mimi (Kristen Scott Thomas) since he was a young lad. When he is suddenly reunited with his mom, Julia (Anne-Marie Duff) at 15, he becomes torn between the two loves of his life. The sisters battle for his affections and unknowingly shape music and generational icon.

Nowhere Boy is a succinct film that focuses on the often-overlooked early years of the famous Beatle. Director Sam Taylor Wood’s approach straightforward, introducing the viewer to key players in John’s life. The strict seemingly cold Aunt Mimi who discouraged John’s interest in music and encouraged art. The overly affectionate free-spirited Julia who is more of best friend than mother. From his first mouth organ courtesy of Uncle George to the banjo lessons by his mother, Nowhere Boy quantifies the influences of John’s younger years including his friendship with Pete Shotton, his introduction to Howlin’ Jack and Elvis and the St. Peter’s Church festival that would herald the coming of the greatest writing partnership ever…

Nowhere Boy is a solid period film. Set in postwar England, the film looks great thanks to its attention to detail.  Watching John’s evolution from pretty boy to Teddy Boy is smart. Casting is spot-on. Aaron Johnson doesn’t so much look like John as much as he channels mannerism and Johns acerbic wit and rebellious nature.

As I see it, Nowhere Boy makes a beautiful companion piece to two other films released this year that examine Lennon’s short but influential lifetime.  Nowhere Boy is the beginning of a journey.  Lennon Naked is a man confused during that journey.  LennonNYC is an enviable man who's journey is complete.

Lennon Naked (2010)

Christopher Eccleston (28 Days Later, G.I. Joe: The Rise of Cobra) stars as the enigmatic and de facto leader of The Beatles in this BBC biopic, which examines some of the more complicated relationships of Lennon’s life. Set in the late 1960s—at the height of Beatlemania, Lennon overwhelmed by the demands of fame and seemingly melts down. In his confusion he lashes out in bitterness towards those closest to him. He discovers Yoko, divorces Cynthia and his band mates.

Lennon Naked takes artistic license at times—I’m sure to evoke a more sentimental tone, but the viewer can’t help but take away how innocently troubled he was. This film’s major focus it the pained, troubled, frightened Lennon and highlights just how alone he was at what should be remembered as his most triumphant times.

As I see it, Eccleston gives a laboured performance heavy on the acerbic and self-absorbed. Lennon Naked is a one-sided view of a multi-faceted icon. Fans with a critical eye can appreciate what the film tries to do.

Man on the Moon (2000)

Jim Carrey stars as Andy Kaufman in the biopic that I found obnoxious—not because Carrey is awful. I just have no appreciation for the source material.

The Runaways (2010)

The Runways is a tightly wound, low slung biopic that charts the epic rise of 1970s all-girl rock band. Let me tell you this… you will not find finer performances by Dakota Fanning as Currie or Kristen Stewart as Joan Jett.

Fanning and Stewart both have a devil-may-care bad-a$$ness, but it is far from clichéd. As Currie, Fanning strikes an indifference to the world around her to prevent the hurt that is ever near. Her pairing with Joan takes her away from an alcoholic father, a self-absorbed mother, and a dear sister. When we meet Joan, she is shopping in the men’s section and demanding that the music instructor teach her ‘Smoke on the Water’.  To which he replies "girls don't play electric guitars."

Paired up by legendary music producer, i.e., weirdo Kim Fowley (Michael Shannon) the two quickly become friends, joining forces as the meteoric rise to international fame brings the excesses of rock ‘n’ roll to their door.

If the film has one caveat it’s the running time. Not nearly long enough to explore this amazing group. Then again, only fans of the era and/or group would want to watch 2+ hours of this stuff. Sadly, the other two band members are relegated to footnotes. Drummer Sandy West (Stella Maeve) gets a mention when she and Joan first meet and actually start the band. And Lita Ford (Scout Taylor-Compton) is eye candy.  Currie gets the only family background as the film is based on her memoir.

As I see it, The Runaways is a visceral film. It’s gritty, excessive, dramatic, and beautifully surreal. But only the performances by Fanning and Stewart elevate the film from being average.

When You're Strange: A Film about The Doors (2009) // The Doors (1991)

Followers of the Lizard King will revel in the original footage found in the newest documentary of the Doors.  When You're Strange director Tom DiCillo looks into the iconic American band exposing new insights, debunking myths, and examining what made them tick all with Johnny Depp’s narration. He is able to quantify why I find so very fascinating. It goes beyond the poet shaman, it is their music—the mystic, melodic sound courtesy of flamenco, blues, and jazz influences. The beat held by Ray Manzarek’s piano bass and his signature Vox organ create the ground for John Densmore’s blues drumming that weaves in and out among Robby Krieger’s finger-styled lead and rhythm flamenco guitar.

Jim Morrison was a broken genius who numbed in pain with drugs and alcohol. His persona became larger than life. That is more than apparent with the footage included here dated from 1966-1971. What is more tragic is how obviously frustrated Densmore, Manzark, and Krieger are; yet they take no action, going so far as to play right on through Morrison’s alcohol induced haze.

DiCillo gets it right where Oliver Stone gets it wrong…

Val Kilmer’s performance as Morrison is unwavering and eerie. The subtle nuances—the shift in his gaze, the near pirouette of his stance, the way he holds his mouth—it’s uncanny. But that is where it ends. Kilmer (and the audience for that matter) is in for one never-ending drag. The transcendent elements are there, as are important period elements, but Stone’s biopic is self-indulgent. The film is essentially one long trip, a mash-up of Morrison’s demonized life that serves no other purpose but to sensationalize.

The Blind Side (2009)

Michael ‘Big Mike’ Oher (Quinton Aaron) is a victim of circumstances. Born into a broken home to a cokehead of a mother, Michael is a vagrant on the wrong side of the tracks at 16. Enter Leigh Anne (Sandra Bullock) and Sean Tuohy (Tim McGraw). Taken in by the affluent family, Michael is giving the keys to success and rises to the occasion with a little help from the tenacious Leigh Anne. The opportunities afforded Michael blossom as he does resulting in a family and a community benefiting.

In this cynical age, it’s hard to find a film that endears without the saccharine feel. The Blind Side is a rare example success. Sandra Bullock leads an ensemble cast that feels good. Tim McGraw, the celebrity, is lost inside his role as a supportive husband and a young Jae Head threatens a precocious overload alert.

As sports movies go, The Blind Side is predictable; but that doesn’t keep the movie from being productive. I don’t know the true story of Michael Oher, but I sincerely hope he did have a parade of college coaches visit; otherwise, this film jumps the shark at its climax. The film was more about Leigh Ann (and Sandra's exaggerated performance of her).  I wanted more about Michael.

For all my nitpicking, The Blind Side is wholesome entertainment. It is often trite, stereotypical and a little to neat, but that’s the cynic in talking. For what it is—inspirational family fare—The Blind Side is a success.

U2: U218 Singles (2006)

Bono and The Edge could sing the alphabet in Hebrew and I'd love it.  Obviously I'm going to be biased.

This collection of music videos {and amazing extras} rocks. Spanning their work, these 18 singles represent the best of each decade from Mysterious Ways and Beautiful Day to Sunday Bloody Sunday live at Red Rocks. Also included are the two singles from their latest album, How to Dismantle an Atomic Bomb, Vertigo and Sometimes You Can't Make it On Your Own.  Added to the mix is footage from their duet with Green Day at the New Orleans Superdome. Not to be missed is the story behind One, a song with three different visions.

Awesome videos and a solid history lesson on one of the greatest band ever.  What more can you ask for?!  It's great to see the boys enjoying themselves and each other, but it's even better to see U2 pushing the boundries of an art form.

Houdini (1953)

Before he became a legendary illusionist, Harry Houdini (Tony Curtis) was a mere sideshow when he first met Bess (Janet Leigh). But with extraordinary charisma, a natural skill, and unrelenting self-promotion, Houdini would slowly rise to fame with his beautiful ever faithful now wife and assistant. No matter Houdini's obsession in capturing audiences worldwide, Bess is nearby. As each illusion trumps the previous, Houdini's dance with death becomes even more daring.

This classic biopic from director George Marshall is a monument to Technicolor. Combined with the onscreen pairing of Curtis and Leigh and taut reenactments of Houdini's stunts, the film is exciting.

Tony Curtis is mesmerizing as the master escape artist. Aloof, brash, slightly obnoxious, Curtis is fun to watch. Janet Leigh, as Bess, dotes on Houdini/Curtis. It's cute, really--almost disgustingly so.

Houdini is dazzling. Director Marsall weaves dramatic sequences that are filled with suspense among lulls of romance and naysayers. But let's get back to the real reason Houdini is so dazzling--the color!! Each frame dances onscreen thanks to extravagant production values. Costuming and wonderful detail accent the couple beautifully.

As I see it, Houdini is an entertaining treat. Don't expect accuracy. Think romanticism and you'll enjoy the film for what it is: good fun.

8 Mile (2002)

Aspiring rapper and white boy, Jimmy "B-Rabbit" Smith (Eminem) is from the wrong side of Detroit's 8 Mile. Jimmy struggles with the knowledge that he is better than his meager surroundings. His life takes a turning point when Jimmy decides to confront the fear that has held him captive for so long.

This is not normally a film genre that I would choose, but given the current Relapse by Eminem, I decided to examine the fictional tale of B-Rabbit that is based upon the rapper's own upbringing. Never has a film felt so empty and bleak.

8 Mile plays dark, gritty, and with an overwhelmingly emptiness that one struggles to cope with. Eminem gives a solid performance as B-Rabbit and quite frankly, shadows the true actors here. The rapper wears a badge of frustration and anger at life in general. It's a beautiful character study--you can see the hardship written across his face, carried on his shoulders, and tattooed on his heart. Kim Basinger, Brittany Murphy, and Mekhi Phifer support. All are adequate, but this genuinely is Eminem's show.

Kudos to director Curtis Hanson (Adaptation, The River Wild, L.A. Confidential) for retaining an authenticity--like I would know anything about that. The essence of the film is ugly, again bleak, is the preferred descriptor. From the ground up, Detroit/8 Mile feels oppressive, cold, bitter, and lonely. These are essential components as our protagonist thrives on those feelings to create his outlet.

Of course, the soundtrack is true to the genre. The rhythms of 'Lose Yourself' are woven throughout the film.

As I see it, 8 Mile is a solid film examining {for me} of a perplexing genre of music--how can such raw emotion and ugly lyrics exploding over simple beats be cathartic to a generation? Interesting. In another twenty years, just you wait, 8 Mile will stand alongside Purple Rain and Saturday Night Fever as an unforgettable soundtrack.

Lean on Me (1988)

Principal 'Crazy' Joe Clark (Morgan Freeman) will do whatever it takes to educate young minds. When charged with reforming Eastside High School, Clark is determined to change test scores and prevent state takeover of his beloved high school. Facing down hoodlums, graffiti-covered hallways, decaying minds and uncaring teachers, Clark takes extreme measures to succeed. Expelling gangsters and teachers alike, Clark takes the moral high ground and unites the students. Based on a true story, Lean on Me is the story of a man who will do anything to give kids a chance.

Styles were so outlandish 20 years ago, it's comical and almost distracting. No, it's distracting. Pegged acid washed jeans, huge earrings, those jumpsuits and teased hair... Obviously, Lean on Me hasn't aged well, but the uplifting message lives on. Morgan Freeman stands along in a virtual no name cast. As Clark, Freeman is a powerful character, commanding respect and ultimately the direction of the film.

Lean on Me contains solid, if melodramatic, story-telling. Director rightly focuses on Clark, despite potential for arresting subplots. The ending is swift and altogether too {unrealistically} resolved.

Much like the song, Lean on Me isn't awesome--it's not bad either. As I see it, spend your time on the better known 80s fare.

I'm Not There (2007)

In this movie's defense, I can't be the target demographic. At best, I am a casual fan of Bob Dylan and fascination is the key to enjoying Todd Haynes' I'm Not There. Cate Blanchett, Ben Whishaw, Christan Bale, Heath Ledger, Richard Gere, and Marcus Carl Franklin play various stages and personas of Bob Dylan's life.

I'm Not There lacks a coherent story, but, much like the man, it's still fascinating. Bob Dylan's rise from peer-proclaimed folk/protest singer to ICON is a remarkable story of reinvention and relevancy.

The film is highly conceptual as the six actors playing Dyan play him as periods of time in his life as Poet (Franklin), Star (Blanchett), Actor (Ledger), Prophet (Bale), Outlaw (Gere), and Protester (Whinshaw). Some story lines are harder to follow than others and I couldn't help think that a true fan of Dylan would get more out of this. The symbolism, if any, was lost on me. I did pick up certain places, events, and people of the time like Allen Ginsberg or Edie Segwick, but still I couldn't shake the feeling that I wasn't prepared or knowledgeable enough to truly appreciate this movie.

Cate Blanchett and Christian Bale are incredible to watch. Blanchett is Dylan at his most recognizable. She is amazing and is easily the film's highlight. Bale is equally fascinating and Ben Whishaw's Dylan is charming. Although I didn't quite comprehend what stage of Dylan he was, his monologue is remarkable.

I'm Not There is beautifully rendered. Each period has a specific aesthetic and alongside the Dylan score, it's beautiful. Still, as I see it, I'm Not There is to Dylan as Across the Universe is to The Beatles. For what it is, a 2+ hour, conceptual bio of Bob Dylan, it's cool man. Cool.

The Assassination of Jesse James by the Coward Robert Ford (2007)

Robert Ford (Casey Affleck) has always idolized the gun-slinger Jesse James (Brad Pitt). The 19-year old gets an opportunity to shadow his idol. Ford fawns over James, studies his existence, covets his aura, and strives to be him. His friends mock him for his hero-worship; James belittles him for it. Tension builds between the two, the journey to assassination becomes a sadistic dance between Ford and James that explodes with gut-wrenching consequences.

The Assassination of Jesse James by the Coward Robert Ford is a beautifully-wrought narrative of the legendary bandit. Writer/directer Andrew Dominik has crafted an exquisite character drama, that owes much of it's success to Pitt and Affleck.

Brad Pitt play James an vulnerable and enigmatic. Demanding and harsh with his gang yet gentle and soft-spoken with his children, Pitt is riveting. James is dark, brooding, merry, and rambunctious. Years of villainy take it's tole, aging James beyond his 40 years. As the film paces, so does James. He coils like a viper, ready to strike. In contrast, is Affleck. Ford is fresh-faced and eager. He yearns for respect, dreams of grandeur have him wanting to be part of something big, but his admiration becomes obsession. Somewhere along the way, Ford loses that pretty boy sparkle and develops a creepy neurosis Both actors render powerful performances. Supporting characters played by the likes of Sam Rockwell, Sam Shepard, and Mary Louise Parker further the story and these two characters incredibly.

The cinematography is stunning. The imagery speaks volumes with careful fades in and out, shots through rippled glass windows, distortions, and breathtaking scenic vistas. The sets and costuming truly take you back to the 1800s. There are truly too many scenes to mention, but two standout. The nighttime sequence of the train robbery in Kentucky is brilliantly executed. The light filtering through the trees, James silhouetted against the train's light, shadowed figures emerging from the steams. It's breathtaking. Equally memorable, is Ford at the well pump, water splashing into the bucket. Ford's hands cupping and splashing--the water drops stand out as individuals--Ford's obsession' clearly represented and mounting.

The screenplay is eloquent; the narration is styled like a documentary and serves to advance the film beautifully. The dialogue feels like a natural, albeit haunting chemistry between our characters. The score is evokes intoxicating emotion. We feel not only tension, but paranoia, love, sadness, fear, adoration--all the facets of a compelling story.

As the film builds to it's final deception, there is one final scene to recount. James, Ford, and his brother Charley (Rockwell) in the sitting room. James playfully rubbing Ford's shoulders as he recounts his own tale. Whipping a knife to the boy's throat as he and Charley's shared thoughts become one. This viewer explodes with a sigh, adrenaline pumping, heart pounding. That is exceptional film-making.

The Assassination of Jesse James by the Coward Robert Ford is a masterpiece. Pitt is at his finest (this portrayal of James, bumps Tyler Durdin for best performance).

Neil Young: Heart of Gold (2006)

Jonathan Demme directs a intimate concert with Neil Young in Nashville in this 2006 release. Recorded during a two night concert at the Ryman Auditorium and just before Young's surgery for a brain aneurysm at Vanderbilt Hospital, Heart of Gold is as good as it gets.

Young may have slowed down a bit, but this Canadian continues to create relevant sound; his 2006 album Prairie Wind doesn't rock as hard, but the footage is beautiful. Demme knows his subject well and captures Young at his peak. The film is gently paced--almost meditative. Demme has captured his subject well and under his direction, the Young is his most complex. The editing is seamless; visually, the film is slightly haunting.

Neil Young plays the entire album, intersperses a few hits and some obscure classics. The chemistry between him and the stellar group of musicians onstage (among them Emmy Lou Harris, his wife Pegi, The Nashville String Machine and Fisk Jubilee Singers)-it's wonderful to behold.

Heart of Gold is definitely for a niche audience. Still I would hate to think that anyone would miss out on one of the ICONS. For fans of Neil Young and/or Jonathan Demme, this shouldn't be missed.

The Bank Job (2008)

Small time hood Terry (Jason Statham) signs on for a robbery with once-time girlfriend Martine (Saffron Burrows). Gathering up a few extra mates, the amateurs plan the bank robbery of a lifetime. Tunnelling under a local shop, the band of thieves hit the bank's vault and unload over three million pounds of cash, jewelery, bonds, and other assorted goods pulled from hundreds of safe deposit boxes. Among those goods... damaging photographs of government and royal officials and a porn king's payroll ledger. Can the amateurs out-smart the professionals and live to tell about it?

The Bank Job is an above average heist flick based, get this, on a true story. London, Circa 1971. According to the featurette, this was one of, if not the, largest successful robberies in all of England. What is more interesting is the D-Notice accusation. The media killed this story. The files on this event were just recently declassified. Some still aren't scheduled to declassify until 2054.

Delightfully British, The Bank Job takes a step back in time to create a world of shady villains, corrupt coppers, and MI5 or is it 6 agents? "I can never tell which is which. They all use the same tailor." The film is a slow burn complete with cheeky dialogue that engages and pays off successfully.

Led by Jason Statham, the British cast is right on the money. Statham is believable as a two-bit sod just trying to make ends meet and still be able to by a pint. Burrows is delicious eye candy that packs a wallop. More intriguing is Hercule Piorot, er, David Suchet, as Lew Vogal--the porn king of 70's London. He is perfectly villainous. Richard Linton plays MI Agent Tim Everett perfectly enigmatic.

The Bank Job is a slick production but never jumps the shark. The spot-on locales, detailed settings and costuming evoke the scene perfectly. The audience quickly forgets the 'based on a true story' angle until confronted with the known aftermath as the credit begin to role.

This film meanders and twists like no other and to think it actually happened!! Keeping up with its angles made the film even more fun. Pimps, thieves, officials and royalty collide to payoff like you wouldn't believe. The Bank Job is an enthralling ride of deception, money, sex, blackmail and getaway.

So, a big bank robbery did take place on Baker Street in 1971. The culprits were never found, nor was the loot and after initial big headlines, the story disappeared from the newspapers. If the real robbery was half as exciting as The Bank Job, how cool is that.

Into the Wild (2007)

The life of Christopher McCandless is forever immortalized by John Krakauer's powerful book, Into the Wild. After Sean Penn optioned it for a motion picture, McCandless might forever be known as the most self-destructive man ever.

Into the Wild is the story of the fortuned, young McCandless who inexplicably gives his trust fund to charity to transform himself into Alexander Supertramp and follow fate into Alaska. It's his disgust with society that drives him from humanity.

In both mediums, what strikes me is McCandless' self-destruction. I can related to him on different levels, but at some point his passion becomes almost hysteria. Here is the smart, promising trust-fund baby that has the world at his feet and yet, to him, it is all a farce. Within his family life lies an undercurrent of deceit. Writer/director Sean Penn rightly examines this because it shapes Chris so much. the family life and I think therein lies much of Chris' disgust. Still, there were so many other people who loved him as himself.

His journey to Alaska actually takes him first to the Midwest and then to Mexico. In all these little towns in between, Chris meets people of all kinds. Some transient, others not. It's these people that try to save Chris from himself. These are relationships to cherish and he can't even see it!! To use the cliche, Chris can't see the forest for the trees. To this viewer, it is madly frustrating and sad at the same time.

The casting is brilliant. Emile Hirsch plays McCandless and he channels the person I've read about. It's a beautiful character study. Christ is driven, industrious, athletic, cocky, naive, and smitten by the works of Tolstoy, Byron, and Thoreau. Hirsh makes the descent slowly. Kudos to him for embodying such a multi-faceted character.

Supporting Hirsch is a line-up of amazing character. Catherine Keener, Hal Holbrook, Vince Vaughn, Jena Malone, William Hurt and Marcia Gay Harden are equally remarkable as they ebb and flow from McCandless' life. Keener is perfect as a hippie transient. Vaughn's turn as a Midwest farmer, Wayne Westerberg, is perfect as well. The book expands more on their relationship. Wayne influenced this clueless kid more than anyone, I think.

Wow. I suppose death is inevitable when one takes off to the wilderness unprepared. Still, I had hope the movie would end different. The grandfatherly Ron Franz (Holbrook) truly loved this boy--even wanted to adopt Chris, but acquiesced as Chris goes, 'when I get back from Alaska, we'll see.' I wanted Chris to come back for him alone.

Penn unfolds the story of McCandless with heart and principle--much like McCandless. The film feels like a travel documentary with a lead weight. Beautiful montages of endless mountains, roads, earth and skies belie the weightiness of McCandless' choices. Penn uses the scenery and Chris' own words to further the story within its time frame. The setting gives way to McCandless' slowly emaciating body and Penn turns to his words convey the weight of the world.

Into the Wild is an overwhelming story that pierces the heart. Weeping as Chris meets his demise, out of sheer foolishness, I was overwhelmed. How do you stop a man seemingly hellbent on self-destruction? This film is an arduous journey, but one all the better for making.

I think Chris was right. Happiness is only real when shared.

Shine a Light (2008)

That was incredible. On HDTV it was breaktaking. I kept waiting for Mick Jagger to come out of my television. Seriously!

Martin Scorsese could have done for the Rolling Stones what he did for Bob Dylan in No Direction Home. Instead, he filmed Shine a Light. This was no exhaustive biography, nor a in-depth documentary; this was simple the Stones in all their ferocity. More concert than docu-drama, Shine a Light is footage of the Stones in the intimate Beacon Theater in NYC performing for a small, but full crowd.

Scorsese delights the concert-goers senses with brilliant editing that dazzles. While I wish there would have been better coverage of Keith, Ronnie and Charlie, Mick is the ultimate front man. The camera can't not watch him. Scorsese catches some candid shots between the group that are rather endearing and with Scorsese's touch, the band's chemistry is awesome to behold.

The concert footage from their Bigger Bang tour is a solid mix of songs. Opening with Jumpin Jack Flash {expecting something else?}, the Stones tear through the set with unexpected tracks thrown in. Tumbling Dice and Shattered shares airtime with masterpieces like Sympathy for the Devil. They graciously share the stage with Jack White and tear it up with Buddy Guy on Champagne and Reefer.

Shine a Light marks a moment of rock and rock history and celebrates. As the Stones rock on, Scorsese puncuates the film with interviews from their younger days. Fans will find these snippets of news almost prophetic. Shine a Light is easily a must-see for Stones fans!

Masterpiece Theatre: Miss Austen Regrets (2007)

Have you ever thought about the woman behind some of the greatest romance stories? Jane Austen is a woman of myth and legend. Was Austen's own life the source of her stories? Did Austen have her own Mr. Darcy? Was she as principled as Lizzie Bennett? Did she suffer the heartbreak of Anne Elliot?

Ths biopic of the beloved author tells the story of the Jane as a devoted aunt. Fannie (Imogen Poots), her neice and most ardent believer in Jane's literary heroines, has asked Jane to assist in determing the worth of potiential suitors. Jane (Olivia Williams), nearing forty, finds herself looking back and examining her own choices as she aids Fanny.

Can't say I've ever really thought about the author behind some of my favorite stories. Guess I was too wrapped up in romance to wonder. Miss Austen Regrets surmises Jane's final years as bittersweet ones. It is during a time when it's inappropriate for a woman of her age to be unmarried or even think about supporting herself-- much less actually writing.

The film is beautiful, but not light-hearted and gay. Williams portrays Austen as witty and clever, but extremely bitter. To think the harbinger of romance and satire would be this sour is difficult-- but who's to really say. Few of her journals would survive her untimely death due to illness, still, I prefer the Jane Austen of my imagination to this poor soul. Austen, I think, would prefer her devoted readers to know her- warts and all.

Ultimately, Miss Austen Regrets is a well made period drama. Lavish and detailed, you're enveloped in the period laughing conspiritorily with Jane.