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Cry-Baby
Directed by
John Waters
PG-13
1990
85m
Comedy
,
Musical
,
and more
6.5
72%
77%
6.5
Add to Watchlist
In 1950s Baltimore, a bad boy with a heart of gold wins the love of a good girl, whose boyfriend sets out for revenge.
More
Where to Watch Cry-Baby
Amazon Video
Buy $14.99
Apple TV
Buy $12.99
Fandango At Home
Buy $14.99
+2 more
Cast of Cry-Baby
Johnny Depp
Wade 'Cry-Baby' Walker
Amy Locane
Allison Vernon-Williams
Susan Tyrrell
Ramona Rickettes
Iggy Pop
Belvedere Rickettes
Ricki Lake
Pepper Walker
Traci Lords
Wanda Woodward
Stephen Mailer
Baldwin
Darren E. Burrows
Milton Hackett
Kim McGuire
Mona 'Hatchet-Face' Malnorowski
Polly Bergen
Mrs. Vernon-Williams
Patricia Hearst
Wanda's Mother
David Nelson
Wanda's Father
Troy Donahue
Hatchet's Father
Mink Stole
Hatchet's Mother
Joe Dallesandro
Milton's Father
Joey Heatherton
Milton's Mother
Willem Dafoe
Hateful Guard
Kim Webb
Lenora
Alan J. Wendl
Toe-Joe
Jonathan Benya
Snare-Drum
Cry-Baby Ratings & Reviews
Slant Magazine
Budd Wilkins
Packed with catchy musical numbers, John Waters's Cry-Baby is a riotous satire of '50s teen idol and JD films that still has something to say about class in America.
Dennis Schwartz Movie Reviews
Dennis Schwartz
The lite teen comedy was too silly, too mild, and too trivial to make an impact.
El Nuevo Herald (Miami)
Rene Jordan
Cry Baby gives a new meaning to the word, overwhelming. [Full review in Spanish]
Chicago Reader
Henry Sheehan
In fact, the movie is so good- humored that it stands in marked contrast to almost every other mainstream American film out now...
CINE-FILE
Cody Corrall
It's not Waters' most revolutionary or provocative work, but Cry-Baby effectively pokes fun at the sanitized Greases and Romeo and Juliets of the world for the queerdos and freaks alike
Chicago Tribune
Gene Siskel
For a while the actors seem intimidated by the '50s references, but the film eventually develops a musical energy that carries the day.
Los Angeles Times
Peter Rainer
Cry-Baby is often sweet-spirited even when its crummy, but there's also something fetid in its foolery.
Philadelphia Inquirer
Carrie Rickey
If Cry-Baby has a message, it's that Cry-Baby and Allison deserve each other because they're young and they're beautiful, which certainly runs counter to Waters' affection for the grotesque, the bad and the ugly.
Rolling Stone
Peter Travers
The wizard of odd still runs amok.
Seattle Times
Michael Upchurch
It all adds up to zany, wide-eyed, quintessential Waters havoc -- the "kinder, gentler" 1990s brand, perhaps. But the genuine article, nonetheless.
Orlando Sentinel
Jay Boyar
I don't quite know how Waters did it (and I have absolutely no idea why he did it), but the fact that Cry-Baby is fun suggests that the filmmaker possesses an instinctive understanding of what made those Elvis pictures so successful in the first place.
Chicago Reader
Jonathan Rosenbaum
Waters's feeling for the mid-50s doesn't really match his sense of the early 60s, and his plot moves seem increasingly formulaic.
Chicago Tribune
Dave Kehr
Cry-Baby doesn`t have a subject, but only a format-a rickety framework erected to support a few broad gags and a few indifferently filmed production numbers.
Entertainment Weekly
Owen Gleiberman
There are some funny moments, but this may be the first time the director's scabrous, anarchic wit seems vaguely depressed.
TIME Magazine
Richard Corliss
Waters' hole card is Johnny Depp, the winsome tough from TV's 21 Jump Street, who radiates big- screen grace and swagger as Cry-Baby -- no easy trick, since he is guying his own image.
Variety
Variety Staff
John Waters' mischievous satire of the teen exploitation genre is entertaining as a rude joyride through another era, full of great clothes and hairdos.
Lessons of Darkness
Nick Schager
Successfully works in fits and starts.
New York Times
Janet Maslin
Mr. Depp, who smolders naturally when he isn't trying so hard, acts this role about as well as Elvis would have; under the circumstances, that's fine.
Chicago Sun-Times
Roger Ebert
If there is one constant in recent social history, it is that we feel nostalgia for yesterday's teenage badness even while we fear today's.
Washington Post
Rita Kempley
Basically the filmmaker reminds us of his affection for social misfits, but without much conviction. He's simply too hip to commit himself to his beliefs, and a relentless frivolity prevails.
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