![]() ![]() ![]() One minute he’s scheming to get Sweetie out of the family car, so they can leave on a trip without her and then the next minute he’s driving back to pick-her-up, so they can be ‘one happy family’ again. I found the father though to be the most entertaining and interesting. This also shapes what life is like living with a mentally-ill individuals who may seem ‘okay’, but can turn erratic sometimes without warning and this ongoing tension vividly comes through for the viewer until they feel the same way as the characters. The fact that the film’s tone switches halfway through, which would be considered a major no-no by Hollywood standards, is part of the reason why it works as it replicates real-life where sometimes you can have a touching, humorous moment only to suddenly get thrown into a troubling one. Not only do you feel sad for her, but also for how it causes such a severe strain for the rest of her family, which accurately illustrates how mental illness isn’t just a one person issue as their behaviors will adversely affect those around them too. This is a hard film to critique as it starts off as a quirky comedy, but by the midpoint it becomes more dramatic and filled with a lot of uncomfortable even cringe worthy scenes as Sweetie’s mental decline becomes achingly apparent. She asks her parents (Jon Darling, Dorothy Barry) for help, but her dad refuses to recognize Sweetie’s tragic current state and instead continually hearkens back to her childhood years when she was a cute kid with budding talent who would perform songs and dances to the family’s entertainment and delight. Sweetie has been institutionalized in the past and her wild mood swings and erratic behavior quickly cause turmoil particularly with Kay. Kay (Karen Colston) has begun a relationship with Louis (Tom Lycos) and things seem to be going smoothly as they move into a home together, but it quickly unravels when he sister Dawn ‘Sweetie’ (Genevieve Lemon) shows up with her boyfriend Bob (Michael Lake). ![]()
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