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sherrybaby3.jpgSherrybaby (Directed by Laurie Collyer)
A standard issue dress-down act from Maggie Gyllenhaal, which I suppose she had to get around to sooner or later. (Please resist, La Zooey.) “Raw” and “non-judgmental” and “empathetic,” even when our protag — an ex-junkie trying to regain custody of her son — does the exact stupidest thing she could do at any juncture, which is a bit too often for my tastes. Should be needless to say that it doesn’t contrast well with Clean, with which it shares a near-exact premise (and a lead named Maggie!). Olivier Assayas did everything he could to dress up his film’s inherent silliness, and wound up cutting right to its heart. Collyer plays it completely straight and Sundance’ 93, and elicits little more than vaguely condescending head nods. Not to mention, in addition to getting trounced by Maggie C., Maggie G. loses out to a shockingly awesome Giancarlo Esposito. C+


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2 Responses to “MOVIE REVIEW: Sherry Baby”

  1. Phawker » Blog Archive » REVIEW: Inland Empire (Directed by David Lynch, 2006) Says:

    […] BY MATT PRIGGE FILM CRITIC Inland Empire looks like ass. It is also the best film released last year — and yet, for reasons that continue to elude me, this film has yet to be booked into an area theater. Maybe it’s the three hour running time, incomprehensible plot or the fact that it’s shot on video and looks like ass. You could almost hear one of Malcolm Gladwell’s fabled Tipping Points make a thud when David Lynch — one of celluloid’s all-time bestest friends — declared a few months ago that not only was his latest movie shot on video, but all his future cinematic efforts would be as well. You’re a ballsy one, Mr. Lynch. And now that another David — Fincher, whose Se7en and The Game are things of pure celluloid beauty — has succumbed to the tricked-out, fancy-shmancy Thomson Viper digital cam for the upcoming Zodiac, that really just about does it for film. When a format’s major practitioners begin abandoning it, how much time does it have left? Celluloid is dead; long live celluloid. […]

  2. Chinese Checkers Says:

    The film itself is a collection of emotional highs and mostly lows for Gyllenhaal, who elevates it all far above the slim story

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