Sharp Objects (TV Mini-Series 2018) Poster

(2018)

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9/10
Diseased mother-daughter relationship...
ahmetkozan4 January 2019
Camille, who was drunk almost every hour of the day from the moment she arrived in town, tries to repress the traumas she has experienced but she is not very successful in that regard. We understand with instant flashback scenes how emotions that Camille suppressed suddenly surfaced and she can't cope with her past. The town's suc-cessful drowning atmosphere, combined with masterful work of fiction and image management and with the convincing performance of Amy Adams, turns the series into a complete mood, so to speak. With the hypnotizing music that plays in the background while watching to the series we seem to be drunk in the Wind Gap with Camille. There are great soundtracks from Led Zeppelin to The Doors, from Bob Dylan to Johnny Cash.

The scene transitions between past memories and the present are very successful. It's like the scenes are intertwined. You're not leaving the general story of the series as you watch the past memories scenes. It's very well tuned. We see that the series doesn't go on a straight timeline. The scene at the beginning of the episodes is actually the final scene. Although not in each episode, some episodes have these time shifts.

In the background of the series, the words shown for 3-4 seconds may give hints about the series. At least when you watch it carefully, it makes you think. Who knows, maybe a subliminal message. You're unlikely to guess who the killer is. Because in each section you focus on different people. Ideas may change as new details emerge. So it's a little hard to guess. Something I like about this series. Because an unpredictable series is more attractive to me.

I found the acting very good. I think Amy Adams deserves the Golden Globe award with this performance. She conveys her character's mood very well to the audience. You feel deeply the feelings of Camille. Amy Adams and Patricia Clarkson are really good. I found the tension between them very good. Unfortunately, it is not possible to escape from the parents we are attached to. Camille also lives this situation deeply. I guess one of the most complicated things in life is the child-parent relationship. Eliza Scanlen who plays the character Amma is very successful. Like two separate characters in the morning and night. It's like there's someone else in Amma when it's night. Of course it is necessary to open a separate parentheses to Sophia Lillis. She performed very well.

Although the first episode starts with a slow pace, the next episodes are moving well. And it reflects thriller very well. The entire town, including the police, seems to be looking for the killer from a single perspective. It's like the killer is the whole town. I love watching horror movies but I can't say I'm scared most of the time. But in this series, there were a lot of scenes that creeped and disturbed me.

In the series the mystery of the killer is preserved until the last moment, but in the final, the series shoots the audience in the heart with a single sentences. The series manages to leave a shocking effect on viewers with its final. Sharp Objects gave the message that it wanted to give in eight episodes. I can recommend it for those who love the psychological thriller and killer themed. 9/10
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9/10
Excellent
leequattrucci28 August 2018
The reviews that rate this series poorly, (or comment on how slow it is) likely thought this was going to be a murder mystery. It is about murder, but the "who-dun-it" is secondary. This is a character study in damaged human beings, how they got to that point, and the different ways it manifests in their lives. It is dark and unflinching in some places, and it is fascinating. It is also incredibly well acted. The "slow burn" pace is a dramatic marinade, allowing us to really soak in the character and absorb the experience. It makes the finale that much more impactful, and what a twisty finale it was! If you like character driven stories wrapped in a murder mystery, this will not disappoint.
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10/10
Recommend 100%
filomena_giordano12 August 2018
Is it slow? Yes, it is! But it's also beautifully made. The characters are amazing, the acting is even better and the story is catchy. It's a mystery-drama series...it supposed to be slow, to give you time to grow with the characters, to understand every detail. It's not advertised as being the avengers...it's not an action movie...
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10/10
Blown Away. Masterpiece.
chuckster8328 January 2019
Absolutely brilliant. If your looking for a happy story, look somewhere else. Very dark, very depressing, if you have it in you to watch, you get a masterfully spun story of true pain, true guilt and loss. Also a very good depiction of mental health. With a final act that is JAW dropping. I've never written a review on here, but this is a masterpiece.
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10/10
The ending shook me to my core
laurenelizabethberry4 September 2018
Absolutely amazing mini series. There were times that I was confused by quick cuts to flashbacks and flashes of gruesome scenes and wondered if they'd ever make sense, but all the while I knew they would come together in the end. This was absolutely true. By the end of the series, all these loose ends were neatly tied into a present with a bow on top, and then the very last scene of the finale blew my mind. 100% would recommend watching!
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10/10
Hauntingly beautiful
rhythmoriented9 July 2018
Haunting first episode of a show that had me and my wife entranced for the full hour. The editing, cinematography (particularly the framing), mixture of original score and Led Zep songs, casting and performances were all 10/10. It's interesting that Amy Adams, the best working actress without an Oscar, might win an Emmy first if the rest of the series is any indication.
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10/10
Best series of 2018
mahnaz-hadizadeh14 August 2018
This series has the nerve of season 1 of True Detective, the cinematography of Inception, the clipping of the Blade Runner, the grit of The Wire and the family dysfunction of Six Feet Under. It's all the good things of cinematography in one series. Great acting, suspense in every episode and a loss for it only being a miniseries.
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10/10
Amy Adams Shows Once Again Why She's The Best Actress in Hollywood
tomas-842-81725823 July 2018
If you've seen any of Adam's earlier works, this one will shock you. Her character is not charming, glowing, sweet and innocent. Her Camille is broken, confused, and in deep pain.

She has to return to her home town to cover a murder for her newspaper. In doing so, she must confront her own past, which is full of abuse, neglect, addiction, murder....

Camille has never properly confronted her past. She has drowned it through work, alcohol, and sexual obsession. Adam's performance is so nuanced, so perfect. She conveys with a glance what most actors cannot with a soliloquy.

The production is spot-on - especially the editing. Camille's past and present collide in quite breathtaking turns - moments sometimes so brief as to seem fleeting.

You'll want to give this multiple viewings... it will take you time to decipher the story, but you will love every minute of it.
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10/10
Spoilers
lil-3618621 August 2018
Warning: Spoilers
The love scene between John K and Camille should be the clincher for award season! Poignant, tender, and shows two humans connecting on a primal basis sharing and understanding each other's pain

Camille writes her pain on her body then hides it from everyone but John can see thru her guards since he has the same pain. This allows them to connect in a way she never could with Detective.

Powerful scene that deserves recognition!
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9/10
Terrified, stunned and brutal.
Azanspy31 August 2018
A hats off to Jean Marce Vallee. This is a masterpiece. I still didn't get over from the finale. Especially from the post credits scenes. This is far better than the brilliant Big Little Lies by the same director, which was really good too. We can't really decide who did their roles best. Amy Adams or Patricia Clarkson or Eliza Scanlen. They were absolutely stunning. A must watch for all.
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6/10
An Open Letter to Filmmakers
kewells28 August 2018
Dear Filmmakers:

I've noticed a trend in television shows lately: The stories are being dragged out. I'll get to the end of episode 3 or 4 and start to feel frustrated because nothing much has happened since the 1st episode. I'll check the episode list and groan that a good story is being stretched across 8-10 episodes. However I'm hooked, I need to know what happens, so I continue to watch. But I respectfully request that they be told more concisely. My family has developed a game of sorts to each give our opinion as to how many episodes the story could have actually been told in and inevitably, it is at least half. Sharp Objects is one of these shows that could have been told in half the episodes. Easily. The acting was superb, the story interesting, but the pace was slower than a Sunday afternoon.

These are good shows, i.e., Goliath (2nd season), The Sinner, The OA, Mindhunter, Lost in Space, and now Sharp Objects, just to name a few. They are worth watching, but I find them frustrating for plot points to be piecemealed out over so many hours. I'm not asking the stories be told like the fast-talking legal disclaimers at the end of an AM radio ad, but just be tightened up a bit.

Take the first season of Stranger Things, for instance. It was like an 8 hour movie where each episode advanced the story line at a very satisfying pace. I couldn't stop watching and gobbled it all up in one day. (I LOVE when all the episodes drop at once!) The first and second season of Bosch were like this as well. Bingeing at its best.

Now I know this is my opinion and others will disagree with me, but it is a trend I have noticed over the past couple of years and maybe there are others out there who have noticed it too. This is my little two cents worth.

I find it strange to ask for less of a good thing, but that's what I'm asking. I want to watch shows that make me put down my laptop and phone, to make me stop playing games or surf the internet while the show is on. I wanna have to pause to discuss what just happened and look forward to watching more. Instead, my reaction to last night's Sharp Objects was "yay, it's the last episode and we can finally get some answers". The paint has finally dried!

I sound ungrateful, I know. This show and the others I mentioned are good TV. I thank you for the excellent programming. I just want it to be a little less....stretched.

Thank you.
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8/10
Amy Adam's crushes it
miriamllue17 April 2019
It is raw and real in every sense. The script is finely performed by all the ensemble, and never insults the intelligence of the viewer. It always ends with me wanting to see more. I love everything about it.
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10/10
Masterful
BobNoOneHundred9 July 2018
Masterful in every single frame. If you liked True Detective this might appeal to you as well. If you are looking for something to restore your faith in humanity you might want to watch something else.
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10/10
Thank You
afinuc10 July 2018
I love Gillian Flynn because she writes about real women. Fully fleshed out, gritty, strong, good bad and ugly, real women. I love Amy Adams and Patricia Clarkson because they convey that beautifully. I was really looking forward to the start of this miniseries because I so loved the book, and so far I am not disappointed. The cinematography and score are fantastic, and the acting is superb. It is a slow burn, as it should be, and it is in equal measure tense, taught, and hauntingly beautiful. I cannot wait to watch the rest of this story unfold.
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10/10
Wow
funny10001 September 2018
Wow, never felt so many awful feelings after seeing such an amazing show. Wow
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5/10
Thematically interesting and brilliantly acted, but painfully slow and far too long
Bertaut14 August 2019
Although this eight-part HBO limited series has been advertised as a murder-mystery, it's really a character study, with the murder plot functioning primarily as an impetus to facilitate engagement with the characters surrounding it. Nothing wrong with that, of course; the first season of True Detective (2014) (still one of the finest seasons of TV ever made) worked as well as it did not because of the ostensible whodunnit, but because of the psychological deep-dive into its two central characters. Sharp Objects is similarly interested not in who's behind a pair of murders in a small Missouri town, but in how those murders affect a trio of women caught up in the investigation. Feminine in design rather than inherently feminist, the show is a portrait of tainted motherhood and corrupted sisterhood, and focuses on internecine inter-generational conflict, matrilineal dysfunction, and how difficult it can be to escape from past trauma. But whilst the acting is exceptional, and the show is well directed and edited, much like the first season of Big Little Lies (2017), it left me wholly unengaged, completely uninterested in any of the characters, and fighting interminable boredom for much of its eight hours (it's yet another example of one of the worst elements of Prestige TV; series which are far, far longer than they need to be).

Sharp Objects tells the story of Camille Preaker (an exceptional Amy Adams), a reporter for the St. Louis Chronicle, who is sent back to her hometown of Wind Gap, Missouri to report on the murder of two young girls. A barely-functioning alcoholic prone to carving words into her flesh, Camille is ill-prepared for the effect Wind Gap has on her psyche. Central amongst her demons is her mother, Adora (a spectacular Patricia Clarkson), who looks down on Camille with barely-concealed disappointment. Camille is especially haunted by the memory of her younger sister Marian, who died when they were still children, but in the years since Camille moved away, Adora re-married and had another child, Amma (Eliza Scanlen, in a breakout role), who fascinates Camille with her dual personality - dutiful daughter from another era who wears elaborate dresses and plays with a doll's house, and roller-blading lollypop sucking teenage temptress.

Based on the 2006 Gillian Flynn novel, Sharp Objects was written primarily by showrunner Marti Noxon and Flynn herself, with directorial duties handled by Jean-Marc Vallée, who also helmed the aforementioned first season of Big Little Lies. Vallée was also lead editor, and this is important insofar as the editing is the show's calling card, as he attempts to draw us into Camille's psyche via fleeting snippets of childhood memories. The editing rhythms will definitely throw some people off initially, with the frequent one second (or less) cutaways recalling Oliver Stone's "horizontal editing". However, a more apt comparison would be the free-associative editing style of films such as Hiroshima mon amour (1959), Zerkalo (1975), and probably the best evocation of memory ever put on screen, Distant Voices, Still Lives (1988). Indeed, the technique is not entirely unlike Marcel Proust's use of "involuntary memory" in À la recherche du temps perdu - so, for example, adult Camille lies in bed and stares at a crack on the ceiling and when we cut back to the bed, she's a child looking at that same crack; adult Camille is shown opening a door, and we cut to child Camille entering a room; adult Camille hears a song and closes her eyes, and when she opens them, she's a child listening to the song on the radio.

This editing style inculcates us into Camille's fractured mind, whilst also hinting at the nature of her trauma, without ever being too explicitly revealing. As will be discussed in a moment, Vallée grossly overuses the technique, neutering it of its potency, but that notwithstanding, it's a good example of the importance of "show, don't tell", as well as a great example of content generating form and form simultaneously giving rise to content; the memories are always tied to Camille's fragmented psychology, with the brief snippets of recollection acting like splinters impinging on her adult existence.

Another interesting aesthetic aspect of the show is its sense of place. Taking place during a hot summer in which the entire cast are permanently sweating, one can practically feel the humidity rising from the screen and smell the pig farm on which so many of the town's people work. But it's not just the sense of tangibility; at times, Wind Gap comes across as surreal enough to be the location of a David Lynch film. The introduction to the town, for example, is a series of long tracking shots which show next-to-no people, as if the place has been abandoned. Later we see Amma and two of her friends perpetually roller-blading around town like the 21st century equivalent of the Moirai, we also meet a little boy who lives with his meth-addicted mother and who carries a gun to ensure their safety.

Thematically, the show covers a lot of ground, almost all of it tied to female experience, specifically motherhood/daughterhood. Adora is a woefully bad mother who made little secret of the fact that she preferred Marian to Camille; when Camille arrives at the house upon her return to Wind Gap, rather than be happy to see her, Adora icily tells her, "I'm afraid the house is not up to par for visitors". In a rare moment of openness, as Camille struggles to understand why Adora treats her the way she does, Adora tells her, "you can't get close. That's your father. And it's why I think I never loved you. You were born to it, that cold nature. I hope that's of some comfort to you". Later she admits that what she wanted from Camille more than anything was the one thing Camille couldn't give her - she wanted Camille to need her.

In a more general sense, the show deals with how women respond to familial trauma. It doesn't engage with feminism at a political or cultural level, but it certainly does so at a personal level, arguing that the pain experienced by abused women is just as valid as that experienced by abused men, that the manifestations of trauma can be just as catastrophic, and that the anger engendered can be just as self-destructive. We're very used to seeing stories focused on angry, damaged, hard-drinking male characters with dark backgrounds who must fight to control the violence within them, but Sharp Objects is a story focused on the female equivalent of that trope. Indeed, Wind Gap is a town where women are locked into the virtuous virgin/rampant harlot binary, a binary created by men. It's a place where a woman's worth correlates directly with her femininity, her maternal instincts, and her obedient acceptance of her place in androcentric societal structures - everything Camille is not.

However, for all that, I couldn't get into Sharp Objects, and by no means did I enjoy it. The biggest problem is the pace. Yes, I understand it's a character drama, not a plot-heavy murder-mystery, but so too was the first season of True Detective and never once did I feel that show was moving too slow. With Sharp Objects, as episode after episode after episode ended flatly, eventually I just stopped caring. Aside from a major incident in the first episode, and a couple of big reveals in the penultimate and last episodes, almost nothing happens. And that's not hyperbole, I mean it very literally. Tied to this is that the show is far, far too long. The novel is 254 pages, and could easily have been adapted in a four-episode run, but trying to stretch it out over eight (it runs 385 minutes) means that there are long periods were the narrative stops dead, with the characters not interesting enough to take up the slack. Elsewhere, the flashback editing is used so often that it loses its potency and ends up feeling like filler designed only to artificially prolong the runtime. It also starts to feel like Vallée is so in love with the technique that he's using it arbitrarily rather than in the service of character or plot. Additionally, the show abounds in clichés - from the alcoholic hard-as-nails journalist to the incompetent local police chief to the out of town detective to whom nobody listens to the gossiping women to the various suspects who are obviously red herrings. Vallée also has a tendency to overuse certain images, thus robbing them of their effectiveness - Amma and her friends roller-blading around town, Amma playing silently with her giant dollhouse, shots of the child Camille being chased through the woods by a group of jocks, shots of Camille filling a water bottle with vodka.

There's a lot to admire in Sharp Objects, but precious little to like. Although not exactly a work of post-MeToo fempowerment, it certainly has a female-centric perspective, and its examination of issues usually associated with men is interesting, saying some fascinating things about female trauma. The performances are top-notch and the editing is decent (albeit overused), but all in all, the show did little for me. I understand that it's designed holistically rather than cumulatively, and I have no problem with that. But the pace is enervating and the characters just aren't interesting enough to fill such a lengthy runtime.
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6/10
Immersing the viewer in PTSD via cinematography and editing
cetaylor327 August 2018
Warning: Spoilers
Hard to assign this series a number of stars, some aspects 10, others 1.

The acting was stellar, making the characters believable in their almost unprecedentedly dysfunctional family crucible.

And kudos to the way cinematography and editing created the most vivid 'inside' view of the mental tortures of PTSD that I know of on film, paralleling the way that A Beautiful Mind put us inside the mental labyrinths of paranoid schizophrenia. (For those commenters who have complained here about the erratic and incessant flashbacks, literally "flash" backs, and found them inexplicable, this would be my response: you were seeing a depiction of the manifestation of PTSD. Imagine how anguishing then it is for an actual PTSD sufferer plagued by all such 'cuts' and slices of trauma bombarding their mental visions, unrelentingly.)

But the artistry which achieved that depiction of PTSD is also a disjunct with the series ending where even more frenetic, barely visible cutting and slicing of flashes of violence -- seeming to be in the same vein as Camille's PTSD that we've been immersed into, racheted up in the splicings into the final credits as if on steroids, cannot serve the same purpose (in terms of the medium being the message) and thus left me with a sour end note as to director's choices. Those mid-closing- credits scenes were not illustrations of the workings of PTSD; they struck me (and my husband) instead as kind of cheap shortcut twists to stab us, the viewer with, so as to shake us up regarding what had seemed to be the series' final verdict on its crimes and punishments. Those cinematic/editing choices rode in on the backs of Camille's PTSD depictions, so to speak, but they violated the exclusive use of those choices up to that point for illustrating PTSD. These could not plausibly (story perspective wise) be Amma's PTSD, they were instead a break away into some "omniscient narrator" visuals. And while the series did put us into the POV of multiple characters, including Amma, that never included entering into anyone else's but Camille's PTSD-flashback experience/sensations.

So that attempted conflating of a use of a film-editing 'device' to illustrate PTSD and then in the last frames of the whole film to use that same 'device' for some wholly other purpose was, for me, a sort of sabotage.

And perhaps also a degree of disrespect for the story and/or the viewer to relegate such a story twist to a barely recognizable insertion mid-final-credits. Other films have deftly left us with final twists that 'owned' themselves, for one thing by coming before final credits - films for example that leave us with some micro last-minute filmed focus on a detail that changes everything, such as making us know that we'd been watching someone's dream rather than 'reality' - "Mulholland Drive" and "Take Shelter" come to mind. Their endings then became controversial fare for folks like us to debate as to what their ramifications and implications were for reframing the entire film's plotline, but that works. Sharp Object's post-ending ending just felt shortchanged and inappropriate to the film's chosen form-function schema.

(It also felt a bit cheap storytelling-wise to have Adora, in her very last extended scene with Camille, segue into a bit of her own backstory to telegraph to the viewer that she came by her dysfunctions "legitimately" i.e., handed down by her own mother to her. I would suspect that the novel did not wait until the last minute to weave that message into the telling.)

As an aside, viscerally, the hardest thing in the film for me was getting my mind around Camille's cutting. Most specifically, was she supposed to have engaged, at least sometimes in 'collaborative cutting' à la tattooing? How could she have 'achieved' those cuttings into her back? Unlike tattooing, which is inherently social, cutting is a very isolationist dis-ease; it felt disrespectful of the viewer not to give any kind of accounting for how those backside word-cuts could have happened, thus leaving it in the realm of implausibility.
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9/10
Utterly hooked by episode 5
korereviews9 July 2018
Great atmosphere and soundtrack, very similar in tone and style to Big Little Lies - also by director Jean-Marc Vallée. Amy Adams brings class and subtlety to what is not an especially original storyline (Camille, a journalist haunted by ghosts of her past returns to home town to solve murder). But excellence of execution makes this shine. Patricia Clarkson's portrayal of Camille's narcissistic, self-absorbed mother is equally effective: you'll find yourself wanting to choke her in every episode. Also so refreshing to see women's lives and stories portrayed in a non-exploitative way. Camille's struggle with alcoholism and self-harm is depicted with unblinking realism and is something many women can unfortunately relate to. Looking forward to the rest of this series, which is shaping up to be as good as season 1 of True Detective.
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10/10
Amy for president
varkenvanmadonna-4545715 August 2019
I created an imdb account especially for this review. This story just blew me away thanks to the story itself and the atmosphere created but even more because of the extraordinary performance of Amy Adams, who manages to create this character with great accuracy and intelligence. Based only on this and Arrival, she is now my new best ever actress. The 10 goes to Amy Adams, a 9 to Sharp Objects as a whole
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10/10
Wow...
mayabjoerner7 January 2019
Wow... just wow... I'm blown away by this series and the performances by all the amazing actors and actresses! Mindblown and really amazing, disgusting and disturbing story
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10/10
Suspense until the very end
latifavereecken30 September 2018
First of all I do not agree with Some reviews saying that the pace was too slow. It is slow Yes but not for one second was this show boring. The slow pace sucks you into the story. I absolutely loved watching this and it feels hard to say goodbye to the characters now that its done.
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4/10
Slow, boring, tedious and shaky camera all the way.
hmkunzmann9 July 2018
The acting is best thing about this. The story is very slow and boring. Constant flashbacks with no context are hard to interpret, make no sense. The camera is constantly shaking which gets more and more noticeable as the episode progresses. At the time of writing this has an 8.8 score, which simply cannot be true. I gave it a try but I definitely will not waste any more time on this.
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1/10
Can't take it anymore.
clamfu-610-10892810 August 2018
Watched the first episode with hope. I like a slow burner with a plot build up and twist but I had to take a week off at episode three. Came back and persevered, but now smack in the middle of episode 5, I am bailing, regretting my time lost. Current over 8 rating is a joke. All four and a half episodes could have fit into one hour with time to spare. The atmosphere is charged, Amy's depression is palpable, the names flying around are lamentable and the story will just not lift off. Why? A million words and moments trying to re-mire you in the angst, neurosis and fatality over and over so much so that you end up not caring who is doing the murdering or what triggers lay in her past.
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9/10
Wait for it.....
sunllightvids27 August 2018
Warning: Spoilers
Sharp Objects doesn't really cut you until the very last shot but theres are plenty of littles pinpricks throughout. You have all the answers you just don't know how to put them together.

Quick Descript: Amy Adams gets sent to her home town by her editor to report on a murder and missing persons case of two teenage girls. The case turns very personal for her very quickly as we learn more about her life and story parallel to the details of the case she is investigating.

Be aware that this really is a slow burn style show with 8 one hour episodes, so if you are expecting Mad Max: Missouri then this series probably isn't for you.

An excellent cast headed by Amy Adams with a star making performance from Eliza Scanlen (Amma Crellin), the show is a multi-murder mystery mixed with some true crime ellements and an important message about mental illness.

The whole thing is based off an excellent Novel by author Gillian Flynn that I highly recommend you read (its only 250 pages) and the show stays very true to the book, almost too true which brings up my one problem with Sharp Objects; though I think it pays off in the end, the show can be tedious at times to get through. I wouldn't go so far as to call it downright boring, but i'd be lying if i told you that i wasn't checking my watch during a few episodes.

I would REALLY recommend you watch the show through twice, because once you get to the end and have all the answers, watching it again you can put all the little pieces together. All the little things you missed or didn't understand make it almost a better watch the second time around. I will keep this spoiler free but the violent puzzles that Amy Adam's character Camille and her sister Amma both try to complete throughout the show will defiantly make you go "ohhhhhhhh". You might not even realize it until you've watched it several times, its really some very clever writing.

SO if you need a good show to watch and you don't get bored easily give this excellent one a watch, HBO kills it as per usual.
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Dull, depressing, pretentious
ThatDoesntMatter13 July 2018
Warning: Spoilers
The lead character is messed up, her family is messed up, the town seems a bit messed up. Not the kind of messed-up you want to delve into, or even see if there is a solution or development of any kind. It is simply and only depressing and boring.

The lady is damaged, drinking, cutting herself, smart I guess, rude - snappy comments / sarcastic remarks do not alone an interesting character make, especially when drunk and not caring for anything. If she doesn't care why should I? So it seems on top of her sister dying there was a girlfriend that killed herself? (just my take of the flashback in St. Louis and the second, broken cellphone) For some inexplicable reason she stays in her childhood home and its hostile, dysfunctional, crazy, unhealthy atmosphere. Surely her newspaper can afford a motel room? Then she sneaks out and falls asleep drunk in her car... yawn Her teenage half-sister is not a real teenager, I hate when they do this, yeah yeah she outsmarts the crazy mother and is all cool and snappy.... Didn't like her, not interested in her. The mother has some real aspects in her nastiness, but the dress and high heels just make her look all crazy, cartoonish, it takes away from the character. The only sane people so far are her boss and the detective. The pictures are nice, the acting is okay with what they have to work with. But it is Dull, she is depressed, we follow her everywhere, and it is nowhere, because she would rather be dead. Great job if that was the aim.

Too much not explained, gritty surroundings that want to show gritty realism but for me the show just brought across the TRY of doing a kind of True Detective with a very broken female lead. Would have been more interesting with a male (not to slag Amy, I like Amy), it reeked a bit of stereotype, despite the blues music, and the smoking, and all that massive drinking.... Or maybe because of it.

Depressing, disappointing, dysfunctional in a repulsive way. Not recommended.
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