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- Greenwich Entertainment
- 1 h 30 m
- Greenwich Entertainment
- 1 h 30 m
Summary In 2017, The New York Times published an article in which five women accused comedian Louis C.K. of sexual harassment. Nine months later, he returned to the stage and went on to win a Grammy in 2021. Sorry/Not Sorry examines the cultural fixation with Louis C.K. and his comeback while revealing the backlash faced by the women who spoke u...
- Greenwich Entertainment
- 1 h 30 m
- Greenwich Entertainment
- 1 h 30 m
Sorry/Not Sorry
57
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Summary In 2017, The New York Times published an article in which five women accused comedian Louis C.K. of sexual harassment. Nine months later, he returned to the stage and went on to win a Grammy in 2021. Sorry/Not Sorry examines the cultural fixation with Louis C.K. and his comeback while revealing the backlash faced by the women who spoke u...
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Metascore
Mixed or Average
Based on 7 Critic Reviews
57
43% Positive
3 Reviews
3 Reviews
57% Mixed
4 Reviews
4 Reviews
0% Negative
0 Reviews
0 Reviews
Metascore
Mixed or Average
Based on 7 Critic Reviews
57
43% Positive
3 Reviews
3 Reviews
57% Mixed
4 Reviews
4 Reviews
0% Negative
0 Reviews
0 Reviews
As a documentary, Sorry/Not Sorry isn’t groundbreaking in terms of form or information, but it does feel important in the larger conversations that Suh and Montes are exploring, as C.K. isn’t the first nor will he be the last celebrity to have the pain they've caused unveiled to the world.
What it does do, though, is remind us that bad men get away with bad things in part because we’re conditioned, over and over, to see them as normal and funny, permutations of “locker room talk” and “just making a joke.”
It is a nicely-packaged, technically-proficient production that stands out due to its timing, certainly, but also for the power and personality of the female comedians interviewed by the directors.
Chopped up into chapters with dead-on titles like “Open Secret” and “Comeback,” Sorry/Not Sorry seems to suffer from biting off way more than a single, wide-spanning documentary could ever ably chew.
It’s like listening to a joke, hearing an intriguing set-up, and waiting for a punchline that never comes. You’re just left wondering what’s the point?
Mones and Suh’s missed questions and editing tactics make Sorry/Not Sorry a shallow, reductive portrait into demystifying the myth of cancel culture.
Divided into seven narratively ill-defined parts, Sorry/Not Sorry moves like the first draft of an article that has all its sources, but doesn’t quite have a thesis yet. Rather than contemplating the nuances of C.K.’s rise and fall, it is simply an information piece, adding footnotes to the story we already know.
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