I was very moved by Sorry, Baby. It handles delicate subject matter with the weight and importance it deserves, yet it also finds the beauty, sadness, and humor of feeling lost in your 30s. The script uses such a clever structure to tell this story, and I loved how funny and real the dialogue wasâespecially the scenes between Agnes and Lydia. The focus on how empowering positive female friendships are was so refreshing.
Victorâs performance is great, but I also loved Naomi Ackie and the brief appearance by John Carroll Lynch. His scene was probably my favorite in the film. Sometimes you just need a kind voice and a good sandwich.
Victorâs direction is so good because she finds ways to give us so much while seemingly doing so little. The choice to reveal the âbad thingâ from the survivorâs point of view instead of the perpetratorâs is so poignantâitâs a genuine shock that more filmmakers havenât considered it. And that ending was beautiful.
What a beautiful film.
Robin Williams' daughter Zelda tells fans: âPlease, just stop sending me AI videos of Dad.â
âIf youâve got any decency, just stop doing this to him and to me, to everyone even, full stop. Itâs dumb, itâs a waste of time and energy, and believe me, itâs NOT what heâd want. To watch the legacies of real people be condensed down to âthis vaguely looks and sounds like them so thatâs enoughâ, just so other people can churn out horrible TikTok slop puppeteering them is maddening. Youâre not making art, youâre making disgusting, over-processed hotdogs out of the lives of human beings, out of the history of art and music, and then shoving them down someone elseâs throat hoping theyâll give you a little thumbs up and like it. Gross.â
"And for the love of EVERY THING, stop calling it âthe future,â AI is just badly recycling and regurgitating the past to be re-consumed. You are taking in the Human Centipede of content, and from the very very end of the line, all while the folks at the front laugh and laugh, consume and consume."
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