User reviews

There is one reason and one reason alone to see 'Sherrybaby', and that is for Maggie Gyllenhaal tour-de-force performance. Gyllenhaal gives her best performance to date as Sherry, a heroin addict/thief on parole who struggles to stay clean and re-kindle a relationship with her estranged five-year-old daughter. Everything else in the movie is mediocre at best. The other actors are good, but none of them have roles with enough substance for special merits. 'Sherrybaby' is not an easy movie to watch, it's painfully realistic and I felt incredibly embarrassed by Gyllenhaal's Sherry through-out the entire film. It's also somewhat predictable. Long story short, 'Sherrybaby' would be nothing without Gyllenhaal's groundbreaking and tear-jerking performance. Grade: B

Maggie Gyllenhaal plays recently-paroled addict Sherry Swanson, an East Coast single mom struggling to stay clean and get to know her estranged pre-teen daughter whose been living with Sherry's brother. Gyllenhaal runs the risk of being completely unlikable playing this hard-shelled woman, one with a short fuse and no concept of how to live a straight life (to get her way, she uses her body); however, the role is a dream for a dramatic actress, and Gyllenhaal goes way out on a limb with her characterization. It is a brave, blistering acting turn, with nary a false note, and while the plot elements don't quite bloom and some sequences feel disappointingly aimless, Maggie Gyllenhaal is remarkably consistent, scary, ridiculously tough and straightforward, and so honest that her thoughts come out unedited--she's a human cliffhanger. The movie is really about dealing with your anger and your shame, and it's directed toward a very satisfying finish, but that doesn't make many painful scenes any easier to watch. When some people screw up, they tend to do it in full view of the world; this is Sherry Swanson--and while she's angry and hurt and frustrated, writer-director Laurie Collyer is careful not to alienate us from Sherry's feelings. We share in them--without sentimentality--and the returns are worthy but tough to shake off. **1/2 from ****

Sherrybaby (2006)

An almost literal slice of life, and highly believable. Maggie Gyllenhaal is everything here, and she acts her heart out. Which is to say, she makes her part so convincing in the nuances and lack of glamor (utterly), she becomes the character, Sherry, a former junkie just released from jail. It's a story of her trying to find the dignity and frankly intelligence to cope and to reintegrate.

Around her is a fairly ordinary world, and she uses sex and a little pent up anger to wend her way between her parole officers, her sister-in-law, her halfway house roomies, and a new friend or two. Key to all this is Sherry's little girl, who she clearly loves. But she doesn't have a clue how to be a mother.

This must be a painfully common story, and the one drawback is the events float in their slice-of-life as if that's sufficient. It is convincing, but by halfway through it starts to become clear that there is, in fact, no "story" at all. It's just going to be the meandering of this young woman, barely dressed in every scene, never seeing herself for how other people see her, in one big heartbreak. It has an ending, a kind of denouement, but it's very slight.

So, this is easy to recommend: try the first ten minutes. If you like getting absorbed, and don't mind that getting absorbed is the only point, then go for it. Gyllenhaal is a wonder, and the cast around her is right on. Director Laurie Collyer is someone to watch. When she gets more cinematically narrative and transforming material, she might pull off a more lasting masterpiece. This is her first full-fledged film (after a well-regarded HBO movie), and it's very smartly made.

The rehabilitation of an ex-convict can provide juicy stories so this should be no exception, as glamorous, short-skirted jailbird Sherry Swanson (Maggie Gyllenhaal from 'The Secretary') leaves prison yearning desperately to be re-united with her young and very lovable child Alexis. The telling of the story tries hard not to follow conventions and seems to have considerable integrity, yet by building high expectations it can almost not fail to charm and disappoint in equal measure.

With a beautiful background song, 'Some Kind of Heaven', we join Sherry as she starts parole and arrives at a half-way house, bible in hand, full of excitement and hope. Her character, skilfully conveyed by Gyllenhaal, alternates between that of a warm, charismatic individual and the more archetypical ex-prisoner. She has worked hard to reform herself during her incarceration, kicking drugs, studying parenting courses, developing her faith, and now has a beautiful warm smile that melts cold hearts; but just when you might worry about being subjected to an hour and a half of saccharin, she snaps when pushed, swears copiously, threatens a fellow ex-con that pushes her around and, when the employment manager looks set to consign her to waiting tables in a restaurant, tells him frankly, "I'll suck your dick if you give me the job I want." Starting a new life and getting back with her daughter proves hard as events conspire around her. Someone from Sherry's rehab programme recognises her from a strip club where she worked at age 16; her parole officer is hard on her just at the time when she her new dream job starts taking off; Alexis' foster parents are rightly cautious about having her around, and her father is a pervert. At first she uses sex as a release for her jealousies and frustrations with life, but soon progresses to alcohol and worse. Her self-confidence worn down, she realises she is only angry at herself and her inability to cope as well as she would like. Ironically, and perhaps with more humour than intended, she admits, "I'm just mad cos I suck." At one point she rejects a down to earth life-changing programme in favour of her Good Book, and sceptics might feel that leaning on religion in this way hardly does her any favours. Sherry's problem is maybe that she wants to 'reform' only to the extent she deems necessary to raise her child, but her comprehension of the task facing is like someone looking through a keyhole.

Realistic fly-on-the-wall performances prevent Sherrybaby from descending into a sentimental hard luck story. Society feels sympathy for someone in her predicament, but society - and also the law - feels even more concern when a defenceless child is caught up in the midst. The task of reintegrating with the outside world may be an almost impossible one, and Sherry fights bravely (even if we disapprove of some of her methods) but the increasing worry - and one that the movie, to its credit, doesn't dodge - is for the well-being of Alexis. Even left to her own devices (which she isn't), Alexis, unable to comprehend the complexity of what's happening around her, would probably gravitate to those adults radiating the emotional stability of her foster parents rather than the gushing love coupled with violent verbal or physical outbursts of her real mother. In one scene, Sherry violently rebukes a parent who is shaking and berating her son. Whatever the moral justification, Alexis is frightened and backs away.

Sherrybaby's weakness is that meanders on too long for the amount of underlying plot. Repeated family reunions add little to the story and begin to look like a TV documentary that goes on just slightly past its sell-by date. But to its credit it tackles a difficult subject with honesty, includes some gutsy performances, doesn't flinch from including very believable adult subject matter, and is quite enjoyable as long as you don't expect too much.

Maggie Gyllenhaal emerges as an undeniably powerful actress in the title role of this low-budget 2006 indie. Rather than providing her usual scene-stealing turn, she gets to convey the nuances of a full-blown character by delivering an astonishing range of emotion as a struggling ex-convict. The film reminds me quite a bit of Ulu Grosbard's overlooked 1978 "Straight Time" in which Dustin Hoffman plays a paroled ex-burglar who cannot shake his former life. Both provide incisive looks into the hardscrabble existence of people trying desperately to reform, but in doing so, the stories become so desultory and the situations start to have a by-the-numbers feeling that the dramatic momentum dissipates toward their inevitable conclusions.

Directed and written by Laurie Collyer, the film takes an unflinching look at Sherry Swanson, a former heroin addict just released on parole after three years in prison for robbery. Returning home to New Jersey, she is desperate to stay clean and sober in order to reclaim her young daughter Alexis from her sympathetic brother Bobby and his conflicted wife Lynette. Without drugs, Sherry's addictive behavior manifests itself in cigarettes, alcohol and emboldened sexual acts to get what she needs. Yet, her biggest addiction is her relentless pursuit of an idealized image of herself as a mother, and it is her disconnect with reality that produces the film's most poignant moments. Otherwise, the movie gets increasingly frustrating to watch because Collyer provides only hints of what Sherry brought her to her dilemma. What we see mainly are flashes of short-tempered narcissism when we see people understandably looking to emotionally disengage from her, including her indiscriminate father.

There are some surprisingly graphic scenes that show how Sherry uses her shopworn beauty as emotional armor when Collyer could have better used them to underline her melancholy mental state. In the face of these script shortcomings, Gyllenhaal displays enough dexterity to fill in a lot of the blanks, especially when she shows how Sherry starts realizing the depth of her accountability for her problems. Brad William Henke provides solid support as Bobby, as does Bridget Barkan as Lynette, Danny Trejo as a supportive fellow addict, Giancarlo Esposito as Sherry's hardened parole officer, and ebullient little Ryan Simpkins as Alexis. I have to admit I could not wait for the 96-minute movie to be over, but it is worthwhile for Gyllenhaal's courageous work as it is she who holds the film together. Sadly, the 2007 DVD does not contains any significant extras (a commentary from Gyllenhaal and Collyer would have been most welcome) other than the trailer.

Sherry Swanson (Maggie Gyllenhaal) is a recovering addict after serving prison time. She is placed in a halfway house and desperate to reconnect with her daughter who is living with her brother's family. She is perfectly willing to exchange sex for favors. She befriends Dean Walker (Danny Trejo) from the recovery meeting who recognizes her as a stripper. There is hostilities at the halfway house and she stays at her brother's home. It doesn't go well and she starts using again. Parole Officer Hernandez (Giancarlo Esposito) threatens her with prison time if she doesn't go back to treatment.

Maggie Gyllenhaal is great but Sherry is not terribly likable. She's a self-destructive addict who is a danger to her daughter. It's not until the bitter end that her self-obsessed destruction clears up. It would be better for her to build some more sympathy early on. It is still a devastating performance.

I saw this movie at Sundance and thought Maggies' performance was WOW. There is so much junk that makes it to the big screen, I am surprised this movie did not get widescreen release. Obviously the "suits" think movies that make you think won't appeal to mainstream audiences. While at Sundance watching this film, I was sitting near two woman that were adult probation officers and they stated that the movie was very realistic and thought the Director did a great job of capturing what woman go thru after they are released from prison. They also said that most woman in jail have been sexually or physically abused at sometime in their life. Great job and kudos to all those that worked on this movie!

With 'SherryBaby', director Laurie Collyer depicts the 'lower class' culture through the story of Sherry Swanson, an ex-convict and former drug addict who attempts to rebuild her life and her relationship with her daughter. She finds that nothing is the way she left it and her brother and sister-in-law, who're now raising her daughter, have become strong parental figures and Sherry resents that and feels threatened. At the same time, she struggles to readjust in society, coping with her addiction, getting along with people and finding employment.

While the film touches on some heavy themes as it depicts Sherry's fight, it thankfully doesn't go into full depressive tearjerking mode. At the same time, 'SherryBaby' is almost devoid of humour. Through Sherry's perspective, the viewer witnesses how difficult it can be for the 'lower class' Americans to get by with decency and how they're easily judged and blamed.

'SherryBaby' works best as a character-driven piece. Through subtlety, director Laurie Collyer and actress Maggie Gyllenhaal portray the abnormal relationship she has with her sleazy father. While, on the outside, Sherry is a not-to-be messed with tough chick especially around other women, and an 'easy lay' to men, her vulnerability and helplessness are confronted in her private moments and sometimes in the scenes with Dean.

'SherryBaby' showcases Maggie Gyllenhaal's acting as she delivers yet another tour-du-force performance with her down-to-earth portrayal of the title character. It's a very balanced performance that appears natural on screen and the actress depicts the character's frailty, frustration, confusion with excellent conviction. The supporting cast is very good too, especially Danny Trejo (who is cast against type) and Brad William Henke as the brother who's trying to do what's best for his niece while giving his sister a second chance.

'SherryBaby' is a sincere effort on the director's part. She captures the realness of Sherry's circumstances very effectively but it is her leading actress that very much leads the film carrying it off with a transcendent performance.

Here's what I liked about Sherrybaby:

1. Maggie Gyllenhaal gives an effective, appealing performance and gets somewhat naked. 2. The movie manages to just avoid happily-ever-after clichés. 3. There are subtle hints to the backstory rather than obvious manipulations.

But it's not really enough. There are plenty of scenes in the movie that just seem to lag a bit as if something might poke through the ennui and stir things up, but not really. So color this one as a half-step above the usual woman-making-it-right-when-she's-done-so-wrong movie. But only a half-step.

Sherry Swanson (Gyllenhaal) is out of prison after doing a stretch for robbery and drugs and basic slutty, scummy behavior. We first see her arrive at the halfway house at which she's to spend the rest of her sentence. Ah, she's finally out, and she's going to do the right thing this time, you'll see! You can almost see her eyes twinkle.

Sherry has a daughter she hasn't seen since she was in stir, named Alexis. Alexis has been cared for lo these many years by Sherry brother Bob and his wife Lynnette. Bob picks Sherry up at the halfway house and brings her to his house for the reunion, and of course Alexis is excited to see a new person who smothers her in attention. But it's not long before young Alexis is calling her "Sherry" instead of "Mommy," which Sherry takes as a sign that Bob and Lynnette are trying to take her baby away from her. (As if they needed to try; Sherry's not gonna get custody anytime soon.)

Sherry also tangles with her parole officer, played with some gusto by Giancarlo Esposito, who isn't going to cut her much slack. Which is just as well, because pretty much every other guy in the movie somehow succumbs to Sherry's charms and does what she wants. It's when she doesn't get her way that things go all pissy. See, Sherry's not really what you'd call proactive; she expects things to work out for her without her doing any of the work. So, to speed things along, she takes certain immoral shortcuts. In fact, after watching the first thirty minutes or so, I thought I'd put in a porno by mistake. I mean, I thought I'd been sent the wrong disk by Netflix. Yeah, that. Anyway, the pattern seemed to be: 1) Decide to do something. 2) Approach male who could facilitate that. 3) Have sex with male. 4) Repeat if necessary.

So far, so good - Sherry isn't a completely new person when she emerges from the clink, and that at least feels realistic, because how often are ex-cons completely rehabilitated and never do anything wrong, ever again? Probably not very many. Forget recidivism, because that includes only those who got caught. At any rate, Sherry's still a slut. And prone to profanity, as she doesn't mind dropping f-bombs in front of her kid, who she's trying to win over.

Then you have the eventual relapse, and visits to a support group, and new friends. But this isn't a hugs-and-kisses kind of movie - even though Sherry holds hands with everyone in the group and pledges to be free of her demons, we all know she might never, and we question her commitment to same. That's fine, because in reality it's an extremely difficult undertaking, and to me if she'd overcome everything too easily, all similarity to reality would be out the door. But director Laurie Collyer played it straight, giving the film a good boost of authenticity.

Movies like this usually aren't my bag at all. If I wanted to see a movie about a bad girl making her way in the world, I'd turn on Lifetime. Oh, sure, I know there's an audience for strong, independent women, but clearly I'm not it. So I didn't expect this to be all that wonderful; I'd just heard that Gyllenhaal was good in it. And I like her. And she was. Plus, she got naked! So, for those positives, it's not too bad of a movie. A bit grim in spots, and it's very gritty - drug use, sex, language all make appearances. Still, it IS a well-made film about a strong, independent woman who doesn't have all of the answers.

I wanted to like SherryBaby. I really did. I like Maggie Gyllenhaal, and I like good acting. I was lead to believe that the film had both. But after watching it, sadly, this is about the only two things it has.

SherryBaby is about Sherry (Gyllenhaal), a former drug addict, who is fresh from jail and trying to restart her life. Besides trying to become a better person, she wants to reconnect with her young daughter, who has been living with her brother and sister-in-law while she was in prison. But it appears that the road may be a little harder than she first thought.

Right from the start, you can tell the film really does not want to try anything complicated. It is a straight story of a woman seeking redemption for her past woes. We have seen this kind of film time and time again, but every piece of advertising tends to lead us into believing this film is different.

But it isn't.

With a short ninety-six minute running time, SherryBaby is a totally ambiguous mess of ideas that never come to fruition. You know that writer /director Laurie Collyer is really trying to make something of this classically themed story, but it looks like she just wanted to keep it as short and to the point as possible. That means every direction the film wants to take, by bringing up past issues, new characters, and possible ideas for her absolutely dire need for drugs, is never explored. It is strictly mentioned, poked and prodded at, and then is left for the viewer to decide what to do with it. What is the point of throwing indiscernible material at us, if it is never explored?

They cannot and this is the key problem. The film obviously wants to build an extreme amount of pathos for Sherry, and for her situation. We want her to be a better person, and the film suggests that she wants to be as well. But the character is lazy, and wavering; much like the film. It stays in the one viewpoint, and it never lets us really get a taste of who Sherry is. How am I, as a viewer, supposed to feel for such an idiosyncratic person? How is it fair to pass judgment and assumptions on the woman, if I never really know who she is the first place? How is it fair for the filmmakers to pass this off as a complete film, when in reality, it is so messily put together and runs around in circles?

For all of these questions comes a simple answer: you cannot. It just simply does not have the needed material to even attempt it. The haphazard story needs more than just Sherry walking around and falling into silly sexual situations with just about every man she encounters (short of her own brother). It needs some reasoning for her actions, not just a quick skip and a hop to piece together situations mindlessly. It needs some genuine human emotion from more than Sherry. It needs actual real characters for her to interact with, not stereotypical archetypes perfected in far better films. It needs to do more than just set up for a good performance from the lead character. Movies like Ray, Monster, The Last King of Scotland and Capote actually had stories and decent supporting actors to back up their Oscar-winning leads. They actually gave their actors something to work with alongside themselves. Yes, they completely blow away everything in sight with their brilliant acting, but at least they had something to compete against. SherryBaby gives Gyllenhaal herself to compete against, and nothing else.

For all of my ranting on the terrible film, it is mildly watchable because of Gyllenhaal. She breathes life into a terribly underwritten lead, and makes her real and not one-dimensional like everyone else. You can see her reaching for an emotional chord around every twisty turn of her performance, and you know that she is really trying. But the material gives her very little to really do, unlike those Academy Award winning roles that gave the actors a whole ton of things they could possibly do. She feels very held back, and her genuinely naked work here (both figuratively and literally), is shadowed by how weak of a film she is working within.

The rest of the supporting cast can really not be spoken for. They do basically nothing but help advance the plot. Each and every one of them has something to offer Gyllenhaal's character, but none of them really do anything more. They simply offer a mild side story that could have made the film stronger and longer. Danny Trejo, one of my favourite Robert Rodriquez go-to guys, turns in a peculiar performance, but only because he seems to be the only one besides Gyllenhaal really trying to make something of the material. And because all of the supporting characters are even more underwritten than the lead, you will probably barely notice his work here (which is so unlike anything I have ever seen him do).

This is a movie that needed much more than a good performance to make it passable. If Sherry was any other young female actress, I doubt this film would even vaguely need to be seen by anyone. But because Gyllenhaal gives the character some real life attributes, people actually took notice of the movie. Sadly, other than her, the film only serves one other person: to show reasoning for how a bad movie could have been made better. It offers far too many examples, and leaves too many things ambiguous. It needed more, and sadly, will never receive that treatment.

5/10.

Sherrybaby is a movie by first-time director Laurie Collyer that is trying to find its direction. The premise, while seemingly unique, has a hackneyed feel to it. Sherry Swanson (Maggie Gyllenhaal) gets out of prison where she kicked heroin and found religion. She returns to her New Jersey home to reconnect with her daughter. But life is difficult for an ex-con and she struggles with the challenges of staying clean, finding a job, etc. I feel like I've seen this movie before, or at least something like it.

Maggie Gyllenhaal turns in another outstanding performance, but it's not enough to save this movie, which drags in parts and has a generally depressing tone throughout. There are other parts and characters, but they are poorly written, shallow and underdeveloped.

Maybe it's me, but I've never liked addiction movies. I know it's hard to kick anything—drugs, alcohol, gambling—and I'm very sympathetic to the tragedies that come from addictions. I just don't find reliving them very entertaining.

SherryBaby (2006)

*** (out of 4)

A woman (Maggie Gyllenhaal) returns home after three years in prison in hopes of starting up a relationship with her young daughter but things aren't as easy as she thought they'd be. Due to my flu my brain is a little cloudy at the moment so I can't remember how many times we've seen a film dealing with someone getting out of prison and trying to make good. I do know we've seen it countless times since the silent era and in most cases the stories aren't anything original and instead we're just treated to an actor's showcase and that's pretty much what this film is. The film is a notch above something you'd see on Lifetime but all the credit has to go to Gyllenhaal and director Laurie Collyer. Collyer's direction is nice and suttle with her screenplay that's not too original but what's there is brought to life by the very good performance from Gyllenhaal. I like the fact that the screenplay allows Gyllenhaal's character to be very weak throughout so that we get to feel as if we're seeing a real character and not some made up fantasy flick. Again, there's nothing new here but the screenplay, direction and acting makes it worth sitting through.

Once more Maggie Gyllenhaal has done an impressive performance for SherryBaby, in fact she is the one that power the movie all the time.

This film is about the life of one ex-prisoner that leaves jail with only one thing of mind, reunite with her daughther. Maggie Gyllenhaa is not a one of this ficcion-prisoner-mother, Laurie Collyer did a very good job writing the movie looking at the current situation and I think he reaches the target by showing a yound mother has been kept in jail because she was a kind of next-door-drugdealer.

The film itself is a day to day after prison, and how this skinny girl try her best to get what she wants but always finding some one infront of her. She doesn't like to break the rules, but she doesn't understand why they there.

The film will keep you in the seat all the time, I promise.

If nothing else, "Sherrybaby" is a fine vehicle for the talented Maggie Gyllenhaal, who's memorable in the role of a (supposedly) recovered drug addict and former jailbird who's now out on parole. Sherry is released into a society where she often feels ill equipped to cope, and does the best she can, even if that means giving a man a sexual favour in return for a good job prospect. Key to the success of the film is certainly Gyllenhaal. Sherry may not always be terribly sympathetic, but you do root for her to a certain extent due mainly to Gyllenhaals' riveting, realistic performance.

Sherry finds that life outside prison walls is hard to get used to. Her daughter Alexis (adorable Ryan Simpkins) is now being raised by her brother Bobby (Brad William Henke) and his wife Lynette (Bridget Barkan). Sherry finds that reconnecting with her little girl is difficult as Alexis sees her mom as practically a stranger and Lynette actually encourages the child to address Sherry by her name and not as "Mommy". These and other circumstances are now things that Sherry must deal with as she readjusts to "normal" life.

Writer / director Laurie Collyer refrains from ever getting *too* maudlin or melodramatic, which does help matters. Overall the story is not completely satisfying - too much remains to be dealt with - but at least we do get a sense by the conclusion that Sherry is going to be making more of an honest effort from now on. Gyllenhaal is very well supported by a strong cast that also includes Giancarlo Esposito as a tough parole officer, Sam Bottoms as Sherry's father, Kate Burton as the fathers' wife, and Danny Trejo, veteran of bad ass roles, who shows more sensitivity and depth in a change of pace part.

Overall, a reasonably engaging indie drama that does have its heart in the right place.

Seven out of 10.

Dear Maggie Gylenhall,

your film reminded me of Straight Time (1978). Your performance is comparable to Dustin Hoffman's. You really nailed the ugly, hungry and addictive personality of Sherry Swanson. As a heavy drinker, I could identify with her impulsive nature.

Obviously a lot of the problems faced by the female convict out of jail were oft repeated ones (in other movies). But I guess this is how it is in real life.

The songs used were typical country tinged sentimental crap.

I do not have much to say about the direction. I guess the director did a fair job. It is not like she tried anything new in terms of structure or cinematography.

I am surprised Danny Trejo was not cast in more dramatic roles after this film. He was damn good.

Best Regards, Pimpin.

(6.5/10)

Maggie Gyllenhaal is one of America's finest actors and in SHERRY BABY she pulls out a performance that is gut wrenching, painful to watch, but is a character we are rooting for throughout the film. In the last frame you feel her heartache and the compelling need to want her to have a life that is better than the one she has led.

SHERRY BABY reminds me of Ryan Gosling's HALF NELSON in the struggle to overcome drugs and make something out of your life. Too bad that Sherry has to follow such a dark, long road before she can come into her own and move beyond her painful past. The one scene in the film with the father at the birthday party will stay with me forever, as now you can fully understand her anguish and pain.

Maggie Gyllenhaal should be remembered at Award Season as her Sherry is a character that stays with you for a long time, and is someone that makes you want to like, respect and help her secure a new life. Bravo, Sherry, for your bravery, and for having such a skilled actress as Maggie Gyllenhaal portray your life.

"Sherrybaby" is a film about a young woman who has just been let out of prison and is attempting to fit back into society. As you might guess, it ain't easy. This story has been around since the first prison was invented (or at least since Victor Hugo's "Les Miserables"), but it's always very interesting because, if done properly, it deals with a lot of complex themes. "Sherrybaby" rises to the challenge and succeeds.

I'll warn you, this story comes at you pretty hard & heavy. It pulls no punches, showing us the sleaziest, rudest, most annoying aspects of human society and its prejudices. This is NOT a good date movie, nor will it instill you with a surge of love for your fellow humans, that's for sure. But it does carry some inspiring messages about what it takes to succeed as a human being in an unforgiving world.

There are a lot of disturbing clichés, like abusive officers who flaunt their authority to degrade poor Sherry, or like the bitchy family members who are trying to keep Sherry from her daughter, or all the men she meets who treat her like nothing more than a sexual object. There is definitely a cynical vibe that runs through the entire story, and not many characters are likable...in fact you basically hate almost everyone (which is a compliment to the excellent acting). But there are also some unexpected spots of brightness, and that's what kept me interested. At the end of the film, I felt satisfied.

I've seen several films that deal with ex-convicts reintegrating themselves back into society. My favourites, which I highly recommend, are "I've Loved You So Long (2008) and a quirky, hilarious little flick called "Buffalo 66" (1998). And of course there's the must-see film "Slingblade" (1996).

'SherryBaby' is quite a painful and sordid melodrama set in Jersey, the story of a young mother who is out of jail on probe after a drugs-related conviction and fights to stay clean, to find a place for herself in life and especially to win back the love of her kid daughter who is being taken care by her brother's family. The only reason the film is to be watched is Maggie Gyllenhaal, an actress at the top of her career, who fits very well in the role and carries the whole film on her shoulders. This is not enough however, as the story line is too simplistic and expected, and the emotional emphasis is put on the wrong place - I kept asking myself all over the picture whether I am supposed to be sorry about the ex and maybe future drug addicted mother as the director and script-writer wanted, or about the innocent kid who is in the middle. Even Maggie Gyllenhaal's acting could not convince me that I should not care more about the kid.

She is what she is. She is not able to restrain herself. She needs gratification. She can't postpone it. She succumbs to whatever it is, sex, heroin, alcohol, nicotine...love. She is impulsive and she flies off the handle easily. She doesn't know that she behaves badly. She doesn't know that is not the way to dress. Or perhaps she does. She needs to be gratified, and so probably that is why she dresses that way.

She was sexually abused by her father who loved her. But who does she love? She desperately wants her daughter to love her. Do you love me? she asks. Say, "I love you, Mommie." The child does, but suddenly--and this is the denouement of the movie--Sherry realizes that there is some question about whether the child should love her. Yes, she has the stretch marks, but really does she deserve the title of "mother"? And does she love herself? Probably not, and maybe that is her biggest problem. It is said that women who are always seeking sex are really seeking a love that they cannot find. One always feels that if only they would pick the right man. But this is an illusion. There is no right man until she is the right woman.

Maggie Gyllenhaal does an outstanding job of becoming this woman who is lost in this world without a compass as to how she should behave and why, who is lost to everything but her immediate feelings. She is a child emotionally and she cannot understand why it is that life is so hard for her and why the world is so cruel.

This is a masterful portrait of a kind of person that is part of humanity. A good person at heart, not someone who would do others deliberate harm, but a person who is blind to who she is and to how others see her. Into what world does belong? is a question I kept asking myself. I don't know the answer.

Laurie Collyer's direction is exquisite. The players and especially the little girl are wonderfully directed. Everything is like the people next door without a hint of anything phony. The contemporary Garden State setting is real and the details and the atmosphere are as genuine as the New Jersey Turnpike. And the ending surprises. It is perfect but in a way that I suspect most viewers will not be able to predict. I know it surprised me.

My hat is off to Laurie Collyer and Maggie Gyllenhaal. Thank you for this modest little masterpiece and for not compromising reality or putting in any unnecessary fig leaves or giving in to any notions of political correctness. This is just a pure slice of life movie with a beginning, a middle and an end, beautifully realized. And yes it is rated R.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

I saw Sherrybaby last night at the Sundance Film Festival and would rather have been standing out in the snow in my underwear!

This was Laurie Collyer's first crack at directing a narrative film and it shows. The premise seemed engaging enough; a recovering addict is let out of prison and tries to reconnect with her daughter and keep clean. However, it takes more than a good premise to make a good movie. The dialog was often awkwardly written and even more awkwardly delivered. Some of the cast have quite a bit of experience in front of the camera but delivered performances that were down right embarrassing. I feel like Laurie Collyer is responsible for these bad performances among other things. The camera work was frustrating to watch. I'm quite sure Serrybaby was shot on High Definition video. The colors just had that electronic video look. Many of the shots and some entire scenes had weird framing that seemed to be caused by bad blocking - Once again the director's fault.

Bad writing, crummy directing, lousy performances, dumpy photography - Oh and mix all of that with several extremely explicit sex scenes and what do you get? You guessed it ... Pornography. There is just nothing artful or good about this film. Sorry Laurie, I wish I could say something nice about your film because I'm sure you worked hard on it, but I can honestly say that this is the worst film I have ever seen.

I hear "Little Miss Sunshine" was great, but I wasn't able to catch it. Oh well! Sundance is always a crap-shoot but this year was the crappiest I've seen in years.