I like how no period piece set in recent history (in this case the 1960's) can exist
without blatant telltale signs that it's set there (the Kennedy sign on the lawn, the music,
etc.). And they waste no time whatsoever. And just like watching 'That 70's Show', it didn't bother
me that I didn't believe for a second that it was set in another time - that wasn't the point.
Every director is out to prove a situation and emotion timeless. It's just irks me that
filmmakers see me as this dimwitted viewer that needs to be told where and when in such
a disgustingly simple fashion.

 The connection between my questions of a) why we need the voice over at the
beginning and at the end; b) showing us the end first; c) leaving us in the dark first
(which I'll get to) and; d) the grip the writer applies even in an adapted film - making
herself an absolutely pitiable and sympathetic character that can do no wrong - what are
these connections? It's all there for show. It's meaningless structure. Meaningless. I defy
you to come up with a perk to the voice over only at the beginning and the end; much less
a reason for the film showing us the end first.

Some other complaints. She's so much different than the other girls. Is this the
lowest common denominator when showing a subject we are meant to feel sorry for. The
film doesn’t even attempt to work at complexity. Is she incurable because she didn't
possess a disease in the first place or is she incurable because she's beyond help? (Hold
on, I have more dumb questions!) Why do we never see the men's ward, yet they escape
constantly - to wherever they want? ( Do I need to be a femme to get it - I hope not. I
believe that the term "Chick Flick" has no meaning, should be stricken from all
vocabulary and is incredibly insulting). It was a welcome dimension to the relationship
between Susannah and Lisa when Lisa mistakes her for the dead girl - but that's all we
hear of it - just the once? Why?

 It's a blunt movie with blunt characters. Very little is left to the imagination. I like
the idea of the contradiction between trying to kill yourself by taking pills in the real
world and being forced to swallow pills in an institution. Again, would've liked to have
seen that fleshed out or at least acknowledged. The past interrupts in the beginning, but
stops long before she is pronounced cured. Why? I'd have liked to have seen more of the
past (if for no other reason, so the film would stay somewhat consistent). The commodity
of the institution produces camaraderie. I like that. The themes of interruption, progress
and hiding the inability to properly deal with emotional stress (or not hiding it)  - all
handled well.

 These properly manipulated strokes are far too little, far too late.