Freaktana
A Major Disappointment
Dynamixor
The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.
Juana
what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.
Weightoftheworld-694-320975
I feel bad giving this film a star because it was honestly the most mundane film I've ever seen. I kept waiting for it to get interesting but it didn't. Every scene was equally as boring, the storyline was loose at best and the "drama" that surrounded consisted mainly of boring dialogue. I felt that most of the characters lacked any depth and there was no on screen chemistry to speak of. There was little emotion attached to any of the actions of the characters and the really simplistic storyline could be summed up in less than 20 minutes as all the other scenes added very little to the main plot, in fact they added very little to anything. For a romantic comedy, it was neither particularly romantic nor particularly funny. I really felt this film lacked anything worth mentioning.
HallmarkMovieBuff
I don't usually waste my time commenting on below-average (i.e., rated under five on a scale of ten) films, but I do so here – "Sorry, Thanks" is rated as I write at 4.2, with 93 votes on this forum – only to contrast it to a twice-better film that I watched yesterday, also on the Sundance Channel."Man in the Chair" (2007) is a professional film about the making of a film for a student movie competition. It's professional in the sense that it employed more than half a dozen well-known, established actors, used interesting and semi-innovative film techniques, relied on a large network of outside sources in its production, and so on."Sorry, Thanks," on the other hand, simply looks like an actual student production, with its sub-par acting, ordinary but competent photography, minimal plot line, and the apparent sketchiest of scripts.This movie is classified as a "comedy," with a tag line of "An unromantic comedy." It seems to me that there ought to be a sub-classification for "unfunny comedies," since there are so many of them on the market. Whether this movie is a comedy or a drama (or a dramedy, in popular parlance), to this viewer is debatable. The following line from the movie seems to sum up this entire amateurish effort: "You make a great grade school student."
Joshua Bozeman
Maybe I'm old fashioned, and call me crazy for feeling this way, but I sort of think movies need to have a point. They need to be entertaining, and if they're not, they need to have some redeeming value that makes their very existence worthwhile. Watching boring people live their boring lives just doesn't cut it with me. Especially when those boring people happen to be either idiotic, amoral, or a little of both. In, Sorry Thanks, I wouldn't even want to be friends with half of these people, let alone be involved in their lives in any manner whatsoever, so why would I care to watch them for 90 minutes? Main character, Max is an idiot twenty-something who has a dead end job he doesn't even try at...when not at said job, he's with his adorable girlfriend whom he pretty much treats like garbage or friends who seem to think he is a douche bag lacking in morals (in fact, there are two scenes where they tell him he is immoral and an ass). Oh, and on the side, he's having sex with Kira behind his adorable and loving girlfriend's back. Kira is. Well, how do you even describe Kira? First off, she's odd. She makes odd faces, she makes odd jokes, and she just acts odd. Max is somehow attracted to this, so why not destroy another person by sleeping with odd girl? Kira has a new job as a copy editor and a string of random boyfriends who aren't boyfriends. Like Max, she seems to be down with messing with people- her friends seem to do the same thing Max's friends do- sort of push the idea that she's kind of a jerk. Kira is, admittedly, slightly less of a douche bag than Max. Now that I've explained the two main characters, people whom you'd probably want to get AS far away from in real life, I'll explain the plot. Oh wait, I can't, as there is no plot. It's basically 90 mins of watching two assholes who think they're clever and cool do whatever the hell they want.There are small flashes of likability among the two main characters, and we keep getting scenes of Max being semi-charming in a "I'm 20 something but I act like I'm 6" way. But, in the end, little tidbits of charm don't change the fact that these are just unlikeable characters that serve little purpose other than to exist on video. None of them drive any story forward (as there really is no story), none of them add anything to the overall mood of the movie, and none of them really matter at all. If I wanted to watch morons be boring and violating all sorts of trust with other people, I'd turn on reality TV. Like I said- movies need to fulfill a purpose. God only knows what purpose writers, Dia Sokol and Lauren Veloski, thought their movie served. I can only assume they were bored one day. Sadly, it's films like Sorry, Thanks that will continue to give indie films a bad name. People will watch this and say, "see, this is why I never watch independent cinema! The writing sucks, the characters suck, and the acting is, in some parts, miserable." (the cat lady comes to mind immediately). It's a shame, because there are some really great indie films out there. This just isn't one of them.
Peter L. Petersen (KnatLouie)
I'm not quite sure what to make of this film, as I kinda liked it, but also felt it was sort of a waste of time to watch.The story is about a group of post-teens, who doesn't really seem to know what they want with their lives, and go around living just for the sake of living. The protagonist is Max, played by perhaps the only well-known actor in the film at this point, Wiley Wiggins (from "Waking Life" and "Dazed and Confused"-fame). Max unambitiously works as a sort of telephone operator, not really putting much thought nor effort into his job, and frequently comes in late, as a result of him not having a car, and refusing to use public transportation. He has just had a one-night stand with Kira (Kenya Miles), who had just broken up with her boyfriend, and Max can't seem to stop thinking about her, even though he is already in a steady relationship with his long-term girlfriend Sara. Max doesn't seem to be regretting his affair, but at the same time doesn't want to break up with his girlfriend either, so he is going through some emotional issues (or rather, lack thereof) throughout the film, and we follow him around, essentially doing nothing, and then doing more of nothing later. We also follow some of the other characters around, also doing basically nothing too.Even though most of the characters are very shallow, they still belong to this interesting group of goal-less youths, which probably take up more and more of the modern western society today, and because many of us (including myself) belong to this group, the film becomes strangely relevant, despite apparently not really having a goal of its own.So, overall I rate this a 6/10, purely because of the likability-effect that these post-teens have, and because I can identify with many of the issues they face during their everyday lives. But it is probably not a movie I'd consider viewing multiple times, as it doesn't really seem to be going anywhere, with a character-development of basically zero.
