
A restless and abrasive young woman eschews the affections of a sensitive young portrait artist, preferring to chase punk singers in a misguided desire for fame and fortune in New York's Greenwich Village.... (Full plot summary below)
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A restless and abrasive young woman eschews the affections of a sensitive young portrait artist, preferring to chase punk singers in a misguided desire for fame and fortune in New York's Greenwich Village.
Leave your thoughts about Smithereens.
| Slant MagazineNiles SchwartzMuch more than a punk artifact, Smithereens is a landmark that showcases how the urge of self-creation and the seduction of reveling in self-destruction dance side by side. |
| Slant MagazineSteve MacfarlaneIt's as unsparing a sketch of twentysomething life in New York City as American independent cinema has yet offered. |
| CineVueChristopher MachellThe grimy, crime-ridden cesspool of New York in the 1970s and early 1980s is a well-worn cinematic setting, but in her debut 1982 feature Smithereens, indie director Susan Seidelman used guerilla filmmaking techniques and a faux-documentary style to unearth the vitality and the verve of urban life at the bottom. |
| The New York TimesJanet MaslinEventually, it becomes clear that neither Wren nor the movie is going anywhere, since the character never becomes any more thoughtful or less selfish than she was to begin with, and since her bouncing between Paul and Eric has become both predictable and strained. But before it runs out of steam, Smithereens is ragged, funny and eccentric. It has as much life as the indefatigable Wren, and that's plenty. |
| FanboyNation.comSean MulvihillSmithereens is an unflinching look at a moment in time that is now looked at with rose-colored glasses. |
| IONCINEMA.comNicholas BellIf Smithereens feels like a first labor of love, it's even more endearing for it, stylistically akin to early titles by John Waters. |
| EmanuelLevy.ComEmanuel LevySusan Seidelman's feature debut, the first American indie to be shown at the Cannes Film Festival, put New York's East Village sensibility onscreen by examining issues of identity, desire and self-fulfillment from a distinctly female perspective. |
| The Blue LensesAlexandra Heller-NicholasSusan Seidelman is perhaps most readily known for her 1985 Madonna vehicle Desperately Seeking Susan, but it is in Smithereens that its more famous successor took its low-budget, rawly independent first steps. |
| Miami HeraldBill CosfordThough SMITHEREENS is not without its problems--much of the material seems to be cliched--it is a good display of what a persistent creative drive can achieve. |
| User ReviewScott CYes, I was a teenager in NYC when this came out. Seidelman knew the same streets and the same clubs and back alleys that I saw and really spins a true tale of New York City in the eighties. |