Anne, la maison aux pignons verts

Siblings Marilla (Sara Botsford) and Matthew Cuthbert (Martin Sheen) are looking to adopt a boy to help out on their PEI farm. They are shocked to be given the talkative, precocious orphan Anne Shirley (Ella Ballentine). Marilla tries to send her back. Anne is haunted by abuses at the orphanage and unstable homes. She befriends Diana Barry and Josie Pye is the mean girl. Anne gets into a fight with Gilbert Blythe.

Megan Follows can't be replaced but this one does go a little darker. Anne starts off like a victim. The black and white flashbacks add to that sad and darker start. The well-worn story gets a condensed treatment. It ends when Marilla stops Anne from leaving. The rest is left on the budget cutting floor. Ballentine does a good job. She isn't quite as comical as Follows. This Anne has more feisty anger and bitter sadness.

As someone whom grew up reading the entire series of Anne books, and having watched the TV Series, I was ready to be disappointed, but was not. Yes they changed things a little, but nothing intrinsic, I loved the moment Anne broke the the board over Gilbert's head. Yes it was an over reaction, and sadly as this only told a short part of the original first book, we never saw much of the make believe or dares she and Diana and the rest got up to. But the feel of the tale was there. If there was an adaption of the Little house books done in this way, I would be happy.

This movie is so syrupy. After having seen other renditions, including the new series on Netflix, "Anne, With an E," this one is put to shame. First of all, as a teacher, I used these books many times. They are extremely well written and have a real edge to them. Marilla's slow acceptance of Anne is totally lost here. She is a harsh, practical woman and Anne really gets on her nerves. I'm a big fan of Martin Sheen going back forty some years. But his portrayal of Matthew is a total miscast. His cutesy, confident character is the opposite of the Matthew I know. First of all, Matthew is generally frightened of his sister and doesn't dare to confront her. The problem is that she gives up right away and lets Matthew have much more freedom than the real story portrays. Anne's previous experiences are so harsh and are hardly exposed in this new telling. When Marilla starts to accept the sad little girl, it is when she sees the pain of loneliness brutality she has experienced. This makes her turnaround an act of triumph. Ann is also less interesting. She so quickly catches on with the other children, we lose the harshness and unfairness of them. There is only one girl who is really unlikable and she quickly becomes at least tolerant of Anne. Mostly, I just found this so quick and formulaic and lacking in depth with easy plot transitions.

Lucy Maud Montgomery's 'Anne of Green Gables' is a literary classic, and, while not every adaptation of 'Anne of Green Gables' has been watched by me, count me in as somebody who also adores the 1985 version and who considers it vastly superior to this latest effort.

Every adaptation deserves to stand on its own two feet, regardless of how well or badly it fares to the source material or how it stacks up with other adaptations. As has been said, this 'Anne of Green Gables' underwhelms as an adaptation, the details are there but not the spirit with the film seeming to forget what it is about the story that makes it resonate so much. On its own terms, it also is just as problematic. To me it isn't as awful as has been said, but the disappointment is understandable.

There are good things with 'Anne of Green Gables' (2016). On the most part it looks very attractive, with beautiful and quaint scenery, evocative costume and production design and photography that gives off a real wholesome charm that reminds one fondly of cosy period dramas or something like 'The Waltons'. The music is lilting and suitably whimsical as well as with the right understated touch when needed.

'Anne of Green Gables (2016)' casting has been criticised and again understandably, with reservations for a few also shared. Ella Ballentine, starting with the positives of the casting, is a spirited and charming Anne, even if Megan Follows embodied the role much more Ballentine doesn't fare badly at all on her own and her spirit and charm lifts the film from mediocrity at best to something a little better. Julia Lalonde is perfectly cast as Diana, and Stefani Kimber's Josie is a bright spot too.

However, despite most of the details being there the spirit (apart from a cosy wholesomeness) isn't there, suffering from the pacing and dialogue delivery especially being too rushed and characters and essential plot points being either underutilised or re-written in polar opposite fashion. Gilbert is both downplayed and underused, with a too young Drew Haytaoglu being pretty bland in the role, and while it was appreciated that the relationship between Anne and Marilla had more prominence when it is often the romance it would have been appreciated more if it didn't feel like it dominated too much and that the character of Marilla had a better mix of the hard and soft rather than just being cranky and also less severe to usual. This too would have given Sara Botsford more room to stretch herself and her talents, what should have been a pretty juicy role limited her too much and never allows her to disappear into it.

Martin Sheen overplays in the role of Matthew, that is also written too extrovertedly. As much as this sounds like a purist, one of the book's biggest pleasures (of which there are too many to list) is how momentous the reader feels when Anne wins Marilla and Matthew over, when you have the roles written in polar-opposite fashion, Marilla needing more severity and more of a mix of hard and soft and Matthew needing to be more introverted and gentle, like here this momentous feeling is lost. The editing also feels very jerky too, while the script is rushed and often stilted in delivery and has a anachronistically modern feel that distracts too much from the period (as well as a few gratuitous darker elements that was best omitted). The ending has too much of a too sudden and unfinished feel to it.

Overall, looks attractive, has a nice score and with a few casting bright spots but feels both too bland and rushed. 5/10 Bethany Cox

This production has the misfortune of following the brilliant 1985 version. Marilla Cuthbert in 1985 was a solid, religious, grounded woman, who learns to love Anne. The present Marilla is merely cranky. The character of Matthew Cuthbert in 1985 was shy and deep. The present Matthew is a superficial fool. The 1985 Anne was passionate. The new Anne seems forced. The actress does not really inhabit the role -- but rushes through her lines and puts on laughter or tears as the script directs. In 1985, the characters interact and change each other. In this production, they seem to bounce off each other. They are not really present. I agree with other reviewers that the story was rushed.

Come to think of it, I don't believe the house had green gables -- or any gables at all. (Maybe I'm wrong about that.)

Maybe if the viewer has never seen this charming story before, the 2016 production would be good. Compared to the earlier version -- still easily available -- it is a great disappointment.