She’s passive-aggressive only when she’s being polite. Creator Marti Noxon, tongue only slightly in cheek, calls Sharp Objects the capper in her "self-harm" trilogy, which also includes anorexia drama To the Bone and surreal body image takedown Dietland -- and if you're wondering what kind of self-harm is at the center of this series, the title is a … Adams is tremendous: Your attention never wavers from her, even if you lose track of how or what Camille is doing in Wind Gap. question before really making you care about Camille, a character who seems to start at rock bottom, but still has terrifying room to fall. She strikes out verbally and emotionally at Camille any chance she gets, and the balance between Clarkson and Adams is stunning. At the conclusion of the series, it turns out that the show’s fixation on disturbed women is instantiated by more characters than just its protagonist, Camille. THE HOLLYWOOD REPORTER is a registered trademark of The Hollywood Reporter, LLC. She also has a legacy of cutting, the scars of words like “Scared” and “Vanish” etched into her skin forever. Camille is an amazing protagonist, utterly believable, well drawn, and I related to her far more than makes me feel comfortable admitting. Most people won’t notice the slight drag because they’ll be entranced by the performances and engaged by the mystery. Directed by Jean-Marc Vallée, who helmed the multiple award-winning “Big Little Lies” last year for the network, and written by the great Marti Noxon (“Buffy the Vampire Slayer”) from the book by Gillian Flynn (“Gone Girl”), “Sharp Objects” is a murder mystery at its center, but it’s also a story about recovery, trauma, and cycles of abuse. Terms of Use | Luckily, that throughline remains in the adaptation, which is as smart as TV gets in 2018, even if I think it could have accomplished what it does in an episode or two less. He’s something of a safe haven for Camille, someone who also wants to get to the bottom of the case and get the hell out of Wind Gap. Camille's editor hopes she comes back with a juicy human interest story about a grieving community, but what he truly wants is for Camille to confront a few demons, unaware of the depth of trauma she's been inelegantly dodging for years. Sharp Objects is bleak by design. Camille's journalistic ethics are negligible and her writing is mostly unseen, so Vallee concentrates on the idea of Camille as an obsessive observer. Fresh from a brief stay at a psych hospital, reporter Camille Preaker faces a troubling assignment: she must return to her tiny hometown to cover the murders of two preteen girls. ... Sharp Objects also seems to me to be utterly burdened by the clichés of prestige TV--if very likely to reap all of that format’s awards. A slight fleshing-out of the roles of the local police chief (Matt Craven) and interloping outside investigator (Chris Messina) contributes very little, nor does it really need to. 'Sharp Objects' review: Amy Adams can't hone the dull edges of HBO's limited series based on Gillian Flynn book, which wants to be the next 'Big Little Lies' ‘Sharp Objects,’ a Mesmerizing Southern Thriller, Cuts Slow but Deep Amy Adams in “Sharp Objects,” a murder mystery, based on the Gillian Flynn novel, beginning Sunday on HBO. It’s easy to see why someone would come out of Adora’s house damaged, and why that person returning to Adora’s house would barely be able to keep it together. Sharp Objects wrestled with heavy topics, comprising an assault narrative, a portrait of lifelong self-harm, a meditation on American myths of female victimization. She’s a terror. YOUTUBE. TWITTER February 7, 2021 March 28, 2021 / Tora. But the dissatisfaction of the show’s conclusion speaks to a larger confusion in the aim of the series. And she’s really essential to the narrative of “Sharp Objects”. HBO's latest miniseries featuring Amy Adams is pretty gosh darn great.Come chat on the discord! I really did like John, the out of town Detective Richard and most of all the lovely Camille who it seems was facing her own redemption by the end. Daniel Fienberg It starts off strongly, but, like so much TV in the modern era, sags a bit in the middle of the season. Complicating matters is that there’s a young lady in Adora’s house right now in the form of Camille’s young half-sister Amma (Eliza Scanlen). And Amma is trying to be a teenager in this gothic landscape. The rest of the time she alternates between near-catatonic — self-medicating with water bottles filled with booze — and stuck in torment between the past and present, trying to escape her own skin. The second and last sections do reference plot elements and revelations, but they’re fairly vague. Early episodes imply that her kindly editor actually sends Camille to Wind Gap because he knows there are some demons she needs to face before she can be whole again. Without any wholesale overhauling of the main plot, expanding the novel allows showrunner Marti Noxon, and a team of writers that includes Flynn, to take the story outside of Camille's head occasionally.
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