emilywes56 I decided to watch this movie, not only because of the main protagonist (Maggie Gyllenhaal) but also because of the theme, from which I assumed that the film has to do with a very sensitive issue- not so much with drug addiction and get into society again, but more importantly, trying to reunite with your own child and build trust. Rejection from your own family, more specific from your own child is one of the worst things that can happen to a parent, it seems an unending torture, especially when the child is too young to understand completely and sometimes can be easily confused with what is going on.It is a sad story, about an ex-drug addict who after some time in prison gets back in town, clean and willing to stay that way, dedicate herself to her one and only daughter. There are some important things that I want to say in this review and that actually are the reasons why this movie must not mislead you into being sad or emotional about the poor mother that life tore her apart.When the movie ended, I was emotionally affected from the whole story, and from Gyllenhaal's acting. There is no doubt that she masterfully moved the audience with her performance. But... If someone take a more careful look in every frame of the film, he will notice that in the second half of the movie there is a scene that "explains" all they why's of the situations.Why Sherry did drugs when she was young? Why Sherry was a bit aggressive with other people (sometimes even with her own daughter)? Why Sherry lost control of everything and went to jail? Before that specific scene, when Sherry goes at her father's house where she founds her father, her brother, her brother's wife and her little girl throwing a birthday party for her daughter, there is another scene when, for the first time after she's out of jail, her father comes for a visit in her brother's house. She is so happy to see him, extremely happy. She hugs him, she kisses him in the mouth, she tries to get his attention with laughing and saying or doing crazy things, jump on the couch or sing in the dinner table. Plus, her father is re-married with another woman and she is there also.It was strange indeed, and it might have caught viewer's attention, but with the scene in the end, it all makes sense after all. This scene uncovers the truth to the audience and directs us to believe that the reason why Sherry is in this terrible path, is the relationship with his own father, that he assaulted her sexually (obviously from a young age, we understand that from the comfort he has to touch her breasts in his son's house) and that he destroyed her life. The End.So, the (female) director of this movie, wants to reproduce a certain meaning of the figure of the father, the silence of his son while he is watching his own father sexually harass his daughter and lead the viewer to a consistent pattern, the one which family is violent to the children, a real catastrophe. It is very easy to do so, it is very easy to manipulate the thoughts and the unconscious of the viewer to this result. Why? Because the role of the father in the family hardly exists, we only see him from a distance, there are no further explanations or scenes that analyze his character or his relationship with his daughter. The scene of the sexual assault is a raw, crude resort.Very bad things have happened to Sherry and we know who we have to blame for it. When she sees her father for the first time she is so happy, she does not seem to bother at all with his presence or his behavior. And when he finally is alone with her and touch her she runs far away and she needs desperately her dose. Someone might not think of this but, it is a cheap solution to put the blame on one of her family members and use the pattern that in our days is so usual in everyday life.

PimpinAinttEasy Dear Maggie Gylenhall,your film reminded me of Straight Time (1978). Your performance is comparable to Dustin Hoffman's. You really nailed the ugly, hungry and addictive personality of Sherry Swanson. As a heavy drinker, I could identify with her impulsive nature.Obviously a lot of the problems faced by the female convict out of jail were oft repeated ones (in other movies). But I guess this is how it is in real life.The songs used were typical country tinged sentimental crap.I do not have much to say about the direction. I guess the director did a fair job. It is not like she tried anything new in terms of structure or cinematography.I am surprised Danny Trejo was not cast in more dramatic roles after this film. He was damn good.Best Regards, Pimpin.(6.5/10)

SnoopyStyle Sherry Swanson (Maggie Gyllenhaal) is a recovering addict after serving prison time. She is placed in a halfway house and desperate to reconnect with her daughter who is living with her brother's family. She is perfectly willing to exchange sex for favors. She befriends Dean Walker (Danny Trejo) from the recovery meeting who recognizes her as a stripper. There is hostilities at the halfway house and she stays at her brother's home. It doesn't go well and she starts using again. Parole Officer Hernandez (Giancarlo Esposito) threatens her with prison time if she doesn't go back to treatment.Maggie Gyllenhaal is great but Sherry is not terribly likable. She's a self-destructive addict who is a danger to her daughter. It's not until the bitter end that her self-obsessed destruction clears up. It would be better for her to build some more sympathy early on. It is still a devastating performance.

Woodyanders Tragic and troubled recovering drug addict and former convict Sherry Swanson (a remarkably brave, touching, and fearless performance by Maggie Gyllenhaal) attempts to get her life back on track and reconnect with her estranged daughter Alexis (a fine and moving portrayal by Ryan Simpkins) after being released from prison. Writer/director Laurie Collyer maintains a tough, gritty, and resolutely unsentimental tone throughout, firmly grounds the seamy story in a plausibly sordid everyday reality, brings a surprising sexual frankness to the edgy material, and wrings plenty of wrenching poignancy in an unforced and organic manner. Moreover, Collyer warrants additional praise for not only handling an upsetting incest subplot with admirable taste and subtlety, but also for not offering any pat answers or simple solutions to the harsh issues addressed in the narrative (indeed, this movie astutely captures the bitter messiness of untidy real life). Gyllenhaal holds the whole picture together with her astonishingly potent and heartbreaking characterization of a deeply flawed, yet still sympathetic protagonist. It's also a definite treat to see Danny Trejo display a rare gentle and sensitive side as basically decent and tender ex-junkie Dean Walker. This movie further benefits from sterling contributions from Brad William Henke as Sherry's caring and supportive brother Bobby, Sam Bottoms as Sherry's loathsome sexually abusive father Bob Sr., Giancarlo Esposito as hard-nosed parole officer Hernandez, and Bridget Barkan as Bobby's disapproving wife Lynette. Russell Lee Fine's no-frills cinematography provides an appropriately naturalistic look. Jack Livesey's spare and obtrusive score likewise does the trick. An absolute powerhouse.