With Unique Dialogue and A Great Tragicomic Tone, “Sorry, Baby” Is An Amazing Debut
I read a review that said that the filmmaker behind “Sorry, Baby,” Eva Victor, is America’s version of Phoebe Waller-Bridge of “Fleabag” fame, and I think that’s actually a pretty great comparison.
“Fleabag” is objectively one of the best TV shows ever, so it’s tough to compare the two pieces of content exactly, but tonally, Eva Victor’s filmmaking debut is right in line with Waller-Bridge’s modern classic.
Because Victor pivots from drama to comedy to despair with complete control, sometimes doing it within the same scene. Shit, sometimes doing it within the same line of dialogue. It’s some seriously impressive stuff, and the fact that not only does Victor do this shifting with ease, but all throughout doing it, they still maintain total realism. It’s really personal and true stuff, and handles its tough subject matter with honesty. It reminded me of “Manchester by the Sea” in its almost easygoing, real, and funny treatment of some pretty tragic content.
And speaking of “Manchester by the Sea,” Victor writes some absolutely killer dialogue here. Like probably the best dialogue I’ve heard in any movie all year. Similar to a Tarantino or Mamet or even recent dialogue master Celine Song, Victor has her characters speak dialogue that is totally unique, and that you’re just not going to hear other folks speak in other movies. And them and their cast hit all of their beats, with Naomie Ackie, Lucas Hedges (where have you been boy?!) and John Carroll Lynch being particular highlights.
I feel like “Sorry, Baby” may grow in stature in my mind as time passes. I’m such a raging fan of the script, which is also nonlinear, that I feel like I had to settle down a little to write this review. But this is an awesome but subtle, sad but hilarious debut, and I hope Victor stays working in their triple threat status.