Miller bears an uncanny resemblance to Sedgwick and gives a striking, emotionally raw performance that deserves a much more richly imagined and vividly rendered narrative backdrop than the superficial one provided by Factory Girl.
Sienna Miller captures much of Edie's physical manner and some of her voice (though she's nowhere near deep enough), but there's nothing she can do with material that requires her to mope and pout for the bulk of her screen time.
A spectacle of bad accidents, VH1 aesthetics, sketchy (almost nonexistent) period detail, and armchair psychology. Directed by George Hickenloooper from a screenplay by Aaron Richard Golub and Wonderland scribe Captain Mauzner, Factory Girl is generally more engaging than either Basquiat or I Shot Andy Warhol, but it's also more problematic, stemming, to no small degree, from the creative battles reportedly waged over its hastily assembled final cut. Although down-to-the-wire film-making almost never turns out well, performances are what save the day here, notably Sienna Miller's magnetic turn as Sedgwick. One could easily sell the performance short Sedgwick herself was a fairly shallow individual and an absolutely terrible actress, the Paris Hilton of her day. But Miller plays it straight and never for undue sympathy, fashioning Sedgwick as a tragic victim of circumstance who further compounded her own misery.
Sienna Miller captures much of Edie's physical manner and some of her voice (though she's nowhere near deep enough), but there's nothing she can do with material that requires her to mope and pout for the bulk of her screen time.
A spectacle of bad accidents, VH1 aesthetics, sketchy (almost nonexistent) period detail, and armchair psychology. Directed by George Hickenloooper from a screenplay by Aaron Richard Golub and Wonderland scribe Captain Mauzner, Factory Girl is generally more engaging than either Basquiat or I Shot Andy Warhol, but it's also more problematic, stemming, to no small degree, from the creative battles reportedly waged over its hastily assembled final cut. Although down-to-the-wire film-making almost never turns out well, performances are what save the day here, notably Sienna Miller's magnetic turn as Sedgwick. One could easily sell the performance short Sedgwick herself was a fairly shallow individual and an absolutely terrible actress, the Paris Hilton of her day. But Miller plays it straight and never for undue sympathy, fashioning Sedgwick as a tragic victim of circumstance who further compounded her own misery.