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75Miller is wincingly good at playing up the innocence.
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75This is a movie about power, and its spectacle is that of a woman losing all of it.
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75Pearce makes you see why Edie found Warhol as irresistible as he found her. His otherworldly eyes focus on both who she is and what she represents. He sees her as a star.
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70If the filmmaking is in some ways awkward and elementary, Hickenlooper's attitude toward his subject is more complex, and more admirable.
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67As Factory Girl more than acknowledges, Edie Sedgwick's downward spiral was ultimately her own doing. Yet even as the film captures the silk-screen outline of her rise and fall, it never quite colors in who she was.
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63Miller and Pearce are admirably determined to do their complex characters justice, but the generic script turns them into enigmatic symbols, locked in a hollow time capsule.
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63For Hickenlooper and Mauzner, Sedgwick is more interesting for whom she slept with than who she was. Their movie may indict Warhol for exploiting Sedgwick, but they're just as guilty.
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63If not for Sienna Miller's engaging portrayal of Edie Sedgwick, Factory Girl would have little to offer.
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60Director George Hickenlooper captures the energy and ultra-irony of Warhol's scene, but his attempts to give the film a conventional biopic arc end up wallowing in dime-store psychology.
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60A brave bid to recreate a modern American tragedy, with a revelatory turn by its lead actress.
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58Factory Girl lives fast and dies young, but the corpse it leaves isn't really all that good-looking.
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50It's lively but chaotic and evasive. The period re-creation switches on and off. We get a sense of what the silver-walled Factory was like, but not the rest of swinging Manhattan in the '60s.
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50Despite, or perhaps because of, a flurry of 11th-hour recutting and reshoots -- the film feels rushed and unfocused.
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50The movie ends up feeling superficial and mechanical. Warhol is a cut-and-dried villain rather than a complex individual.
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50For a movie about the tumultuous friendships among artists, musicians, and filmmakers during one of the 20th century's periods of creative ferment, Factory Girl is remarkably incurious about cinema, music, and art.
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50The wild, unhinged life of Andy Warhol's favorite "superstar," Edie Sedgwick, is refashioned in Factory Girl as a tame biopic with little feel for the 1960s New York Underground.
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50It's a peculiar movie, frantic and useless, with a hyperactive camera that gives us no more than fleeting impressions of Edie ecstatic at parties, Edie strung out on drugs, Edie lying mostly naked on a bed, with her skin splotchy from injections.
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50The bar for historical accuracy in Hollywood biopics hasn't always been this high -- paradoxically, it's been rising even as the public has become more ignorant of history.
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42The two central performances are competent but uninspired -- and annoyingly mannered. Pearce's Warhol is a one-note, irresponsible villain and Miller's Sedgwick is a shallow, pretentious party girl who chain-smokes her way through every scene.
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40It was probably hopeless from the start: The Warhol cosmos is too weird and complicated to lend itself to a conventional Hollywood biopic, and this one is conventional down to Warhol's first glimpse of his future "superstar" bouncing up and down vivaciously in tacky slow motion.
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40We find ourselves wondering about the real story, not this version.
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38Factory Girl is not, strictly speaking, a bad movie. It's something worse: an irredeemably banal drama about some of the most protean, contradictory creative forces of the 1960s.
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30Sienna 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.
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Poor little girl, chewed up in the Factory machinery. It was inevitable, perhaps, that a biopic of the Pop princess would stick to pop psychology, but did it have to feel as flat as a silkscreen? With its hackneyed party scenes and jet-set montages, Factory Girl fails even at frivolity.
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30It's more like "That Girl" on speed than anything else.
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30The kindest thing to be said about this deluxe photo spread of a film is that Sienna Miller's Edie and Guy Pearce's Andy capture their characters' images and body language with relative precision.
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25The film strays so far from verisimilitude that it feels more like a big celebrity dress-up party than history brought to life. The profoundly silly Internet favorite series "Yacht Rock" offered a more convincing take on pop-culture history and that was at least going for laughs.
User score distribution:
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Positive: 10 out of 15
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Mixed: 3 out of 15
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Negative: 2 out of 15
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[Anonymous]10