Little – Film Review

Tina Gordon‘s directorial effort, Little, is a lighthearted comedy that attempts to blend elements of fantasy and empowerment. However, while it possesses a promising premise and a talented cast, the film ultimately falls short of its potential. With an uneven script and lackluster execution, Little fails to fully capitalize on its comedic moments and struggles to engage its audience throughout its runtime.

The film revolves around Jordan Sanders (Regina Hall), a successful and ruthless tech mogul who is transformed into her younger self (Marsai Martin) by a magical spell. This transformation forces Jordan to confront her past and reevaluate her present-day priorities. While the premise holds promise, the execution leaves much to be desired. The pacing feels rushed and disjointed, with crucial character development and plot points occurring without sufficient buildup or exploration.

One of the film’s major weaknesses lies in its screenplay. The writing, penned by Tracy Oliver and Tina Gordon, fails to fully capitalize on the potential comedic and emotional moments that the story presents. The humor often falls flat, relying on clichéd and predictable jokes that feel recycled rather than fresh. The film attempts to blend physical comedy with witty one-liners, but the timing and delivery often miss the mark, leaving the audience waiting for the laughs that never come.

Furthermore, the characters in Little are disappointingly one-dimensional. Despite having a talented ensemble cast, including Regina Hall, Marsai Martin, and Issa Rae, the film fails to give them material that allows them to truly shine. Regina Hall, in particular, struggles to find a balance between portraying the ruthless Jordan Sanders and the vulnerable young girl trapped inside her adult body. Marsai Martin, who also serves as an executive producer, brings some charm to her role, but her performance is hindered by the limitations of the script.

While the film does touch upon themes of self-acceptance and the importance of embracing one’s inner child, these messages are delivered in a heavy-handed and superficial manner. The emotional beats lack depth and nuance, leaving the audience feeling disconnected from the characters’ personal journeys. Little often resorts to overly simplistic resolutions, robbing the story of any genuine emotional impact.

Visually, the film also falls short. The production design feels uninspired, with a lack of attention to detail and a generic aesthetic that fails to immerse the audience in the story. Additionally, the special effects used to portray the transformation of Jordan Sanders are lackluster, lacking the polish and seamless integration necessary to suspend disbelief effectively. The result is a lack of visual cohesion that further detracts from the overall viewing experience.

Despite its flaws, Little does manage to have a few redeeming qualities. Issa Rae brings a welcome energy and comedic timing to her role as April, Jordan’s long-suffering assistant, injecting much-needed life into the film. The chemistry between Rae and Martin is one of the few bright spots, providing some genuine laughs and moments of camaraderie. However, these moments are far too infrequent to salvage the overall mediocrity of the film.

Little fails to live up to its potential as a lighthearted comedy. While it boasts a promising premise and a talented cast, the film’s uneven script, lackluster execution, and underdeveloped characters hinder its ability to engage and entertain. The film’s attempts at humor often fall flat, and its emotional beats lack depth and resonance. Little ultimately feels like a missed opportunity, leaving the audience longing for a more engaging and memorable experience.