In New York City's Harlem circa 1987, an overweight, abused, illiterate teen who is pregnant with her second child is invited to enroll in an alternative school in hopes that her life can head in a new direction.
The dysfunctional twenty-three years old Sarah takes her six years old natural son Jeremiah from the home of his beloved foster parents with the support of the social service to live with her. Along the years, the boy shares her insane and lowlife style and is introduced to booze and drugs and mentally, physically and sexually abused by Sarah, her lovers and her religiously fanatic family. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The montage of Sarah's boyfriends are actually men whom Asia met and dated during filming. At one point, there a still image of Vin Diesel, whom Asia did not date but admitted that she fancied. See more »
When Jeremiah is in the diner pouring sugar into the cereal bowl, the amount of sugar in the bowl changes between shots. See more »
[after being caught by Sarah, eating food in a dumpster she says was poison]
But... but I don't wanna die.
You ate poison! You ate poison!
If I die, who will watch the walls?
You think I need you? You've done nothing but ruin everything for me. I was fine on my own until you came along. I sacrificed everything for you.
See more »
Interesting premise (Fear and Loathing in Las Vegas meets Mary Poppins!), intriguing performances (over the top exploitation of insane plot points), and perceptive direction (occasional drug-induced editing fluidity) do not a good movie make. The harrowing, gritty chronicles of child abuse start off believable enough, but quickly for me devolved into a shallow montage of misery that trampled it's overall impact. While I admire Argento for tackling the material and attempting to remain as faithful to the spirit of the book as possible, she seems way over her head here in a film that just takes us down a deep, dark road with no real reason to feel or care why. Despite having an obvious affinity with the source, Argento fails to imbue any of these characters with any sense of reality, instead insisting on just trudging out nightmare after nightmare of caricature decay, hoping the sometimes potent imagery will perhaps paint a larger picture then what the actual material here is doing.
5 of 7 people found this review helpful.
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