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Cry Baby
CRITICS OF "Cry Baby"
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Dan Webster
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January 21, 2015

John Waters progressed from the truly disgusting ("Pink Flamingoes") to the truly funny ("Hair Spray") only to now hit the mainstream wall.
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Ron Wolfe
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January 21, 2015

It has a great score of obscure '50s rock and doo-wop. It has the candy-colored look of a '50s musical. What it doesn't have is a moment of anything that seems remotely real.
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Carrie Rickey
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January 21, 2015

If Cry-Baby has a message, it's that Cry-Baby and Allison deserve each other because they're young and they're beautiful, which certainly runs counter to Waters' affection for the grotesque, the bad and the ugly.
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Candice Russell
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January 21, 2015

Cry-Baby takes digs at Jailhouse Rock in a musical number that Elvis would have loved to do.
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Peter Travers
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January 21, 2015

The wizard of odd still runs amok.
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Alan Jones
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January 21, 2015

The nostalgic delights in Waters's reform school drool are often more subtle than his other period offering, Hairspray, but it's still a polished debunking of pop culture from the "Pope of Trash".
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Gene Siskel
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January 21, 2015

For a while the actors seem intimidated by the '50s references, but the film eventually develops a musical energy that carries the day.
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Ralph Novak
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January 21, 2015

Waters's writing is woefully uneven. It's as if Sam Kinison had decided to tell knock-knock jokes -- sterile, unfunny knock-knock jokes at that.
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Michael Upchurch
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January 21, 2015

It all adds up to zany, wide-eyed, quintessential Waters havoc -- the "kinder, gentler" 1990s brand, perhaps. But the genuine article, nonetheless.
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Gary Thompson
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January 21, 2015

As Waters moves to a more conventional type of satire, he is losing some of the edge that gave his earlier films their crass appeal.
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Peter Rainer
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January 21, 2015

Cry-Baby is often sweet-spirited even when its crummy, but there's also something fetid in its foolery.
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Jay Boyar
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January 21, 2015

I don't quite know how Waters did it (and I have absolutely no idea why he did it), but the fact that Cry-Baby is fun suggests that the filmmaker possesses an instinctive understanding of what made those Elvis pictures so successful in the first place.
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