
In Hollywood, people in need revolve around Dr. Henry Carter, a shrink: Jack, an aging star wants permission to cheat on his wife; Shamus is a director who's a cokehead; Patrick is a high-powered germophobic producer; Jeremy is a young writer looking for a break; Jemma, a high-school student, is skipping school; and Kate is an actress facing her mid-30s. Henry's wife recently died; he's grieving, blaming himself, smoking lots of pot. Henry's friends try an intervention; someo... (Full plot summary below)
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In Hollywood, people in need revolve around Dr. Henry Carter, a shrink: Jack, an aging star wants permission to cheat on his wife; Shamus is a director who's a cokehead; Patrick is a high-powered germophobic producer; Jeremy is a young writer looking for a break; Jemma, a high-school student, is skipping school; and Kate is an actress facing her mid-30s. Henry's wife recently died; he's grieving, blaming himself, smoking lots of pot. Henry's friends try an intervention; someone steals a patient's file from Henry; Patrick's assistant, the pregnant Daisy, sees promise in Jeremy's work; and, Jesus, Henry's drug dealer, sells him some potent weed. Can anything good come of this?
Leave your thoughts about Shrink.
| Chicago Sun-TimesRoger EbertKevin Spacey brings another of his cynical, bitter characters to life -- very smart, and fresh out of hope -- but the movie doesn't give him much of anywhere to take it. |
| USA TodayClaudia PuigGrief and suicide seem unlikely subjects for a comedy. But Shrink tries gamely to mine edgy humor from the darkest places. Sometimes it works. Other times, its Hollywood-centric focus feels like a re-heated cinemash of "The Wackness," "Crash" and "The Player." |
| Salon.comAndrew O'HehirShrink offers a roster of wonderfully eccentric characterizations, shoehorned into a dramatic structure that's just a little too formulaic. |
| VarietyJohn AndersonThe film may be too inside-baseball, with strained sympathy and contrived emotions. |
| The Hollywood ReporterKirk HoneycuttYou do wish Pate and writer Thomas Moffett had gone for more wit given the outlandishness of the melodrama since it would be more fun to laugh at this than take it seriously. |
| The New York TimesStephen HoldenThese characters are mostly too sketchy and their connections too contrived for Shrink to jell as an incisive ensemble piece. |
| New York PostLou LumenickStarts promisingly, but Jonas Pate directs his fine cast straight into a swamp of schmaltz as every loose thread of plot gets patly resolved. |
| Chicago TribuneMichael PhillipsThe script of Shrink, written by Thomas Moffett, plays like "Crash" without the angst or the perpetual racial conflagrations. |
| Washington PostPhilip KennicottShrink is no worse than the average Hollywood comedy. But it shows, more obviously than most, the bankruptcy of standard-issue American pop narrative, circa 2009. |
| The Globe and Mail (Toronto)Michael PosnerNo one knows why bad things happen to good people. But we do know why bad things happen to good film ideas. They get ruined by poor scripts and indifferent direction. The evidence desemaine– Shrink. |