Sherrybaby

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 thought the movie featured a great screen play and was a strong vehicle for each of actors to develop their characters. The story may not be entirely original but I think that's a strength because it's the telling of the story through each of the characters that makes it an achievement. Seldom does a film have such strong protagonists and antagonists and allow viewers to really empathize with each.

I enjoyed seeing the raw tension between the characters who could relate to personally, as my family participated in the Foster Care system for many years growing up. I think some may want to see more of a definitive ending but for me, it's more about the journey and the struggles therein.

I would recommend this movie for those who want to see a seemingly familiar story told in a unique way.

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.

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.

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 ****