从这部影片的评论来看，两个方面表现为对影片的集中感知缺陷。一是对罗莎妮的角色露丝缺乏同情心。另一个原因是对梅丽尔·斯特里普的表演缺乏欣赏。自从这部电影上映以来，我看了很多遍，我想我可以有把握地反驳这个论点。
我当然觉得这部电影有一个崇拜者最喜欢的标志。它的黑色幽默，过度收费的表演，以及整体的外观和感觉楔入它之间的“希瑟”和“无情的人”。更多的细节，我觉得这部电影有别于其他电影，但让我们先来处理罗塞恩/斯特里普的问题。
坦白说，我看没问题。梅丽尔·斯特里普的玛丽·费舍尔是银幕上最有趣的发明之一。在我看来，她很喜欢扮演这个角色，因为没有其他方法可以创造出如此精彩的表演。在很多情况下，她都会在不更换相机的情况下拍摄长篇大论，在这些镜头中，她会在一系列搞笑的情绪中穿梭。当她醒来时，她如何处理一只狗舔她的脚的场景，真是太棒了。我觉得这是她最强悍的表演之一；她从不关机，而且总是以正确的剂量服用。
罗珊娜的角色露丝的问题在于，她被视为一个专横、漠不关心、一心想复仇的怪物。露丝，和这幅画里的其他东西一样，都是一幅漫画。这正是我们所期待的罗莎娜扮演的角色，她将这一切向前推进了一步。诚然，她确实沉溺于一种刻薄的消极情绪中，但这会给几乎所有参与其中的人带来积极的结果。她控制了自己的生活，解放了琳达亨特护士霍珀以及无数的妇女通过她的维斯帕玫瑰就业机构。她在一家疗养院接受老年医学治疗。由于露丝的报复，玛丽·费舍尔终于从一开始就被认为是她所希望的严肃作家。我们甚至知道，贝格利的鲍勃·帕切特得到了他的惩罚，并以优雅和谦逊的态度接受了惩罚。
有几十个感动带来这里，使这部电影如此享受观看。首先，随着故事的发展，许多人物的身体都发生了显著的变化。罗珊娜从一个怪胎节目的拒绝者变成了一个相当活泼的琼柯林斯。琳达·亨特和西尔维娅·迈尔斯也发生了同样的转变，斯特里普从一个粉色的、糖霜般的浪漫小说家，变成了一个戴着眼镜的黑色乌龟脖子作家，并赋予了“后现代隐喻”的天赋。当玛丽·费舍尔的《海边的粉色宫殿》的镜头曝光了她在大门上的首字母M F，这就形成了一种特定的基调。斯特里普有无数次为相机做生意的机会，比如在这样一个场景中，她对洗衣完全不理解，导致她把半加仑漂白剂和几张干衣机床单放在洗衣机里。最棒的是，她在莎莉·杰西·拉斐尔的节目中，成功地将矛头指向了“严肃的批评家”。老实说，我觉得这部电影没有很多人想的那么糟糕。我想让你把我们最喜欢的喜剧和恶作剧一样展现出来。

Reading the comments for this film, two aspects appear as the concentration to the films perceived flaws. The one is a lack of sympathy for Roseanne's character, Ruth. The other is a lack of appreciation for Meryl Streep's performance. Having watched this film many times since it's release, I think I can safely dispute this argument. This film certainly I feel has all the markings of a cult favorite. It's dark humor, over charged performances as well as the overall look and feel wedges it someplace between "Heathers" and "Ruthless People". More on the nuances that I feel set this film apart from others later, but lets first deal with the Roseann/Streep problem. Quite frankly, I see no problem. Meryl Streep's Mary Fisher is one of the screens funniest inventions. It seems quite clear to me that she enjoyed playing this role because there is no other way such a wonderful performance could have been created. On a number of occasions, there are lengthy shots with no change of camera where she drives through a range of hilarious emotions. How she handles a scene involving a dog licking her feet while she awakes is tremendous. I feel it is one of her strongest performances; she never turns it off, and always delivers it in the correct dosage. The issue with Roseanne's character, Ruth, is she is seen as manipulative, uncaring, a monster hell bent on revenge. Ruth, like everything else in this picture is a caricature. This is very much the sort of role we would expect from Roseanne, the domestic goddess taking it all a step further. True, she does wallow in a mean spirited negativity, but it results in a positive outcome for nearly all involved. She takes control of her life and liberates Linda Hunts Nurse Hopper as well as countless women through her Vespa Rose Employment Agency. She returns life to the geriatrics in her care at a nursing home. As a result of Ruth's revenge, Mary Fisher at last becomes recognized as the serious writer she wished to from the start. We even know that Begley's Bob Patchett gets his comeuppance, and accepts it with grace and humility. There are dozens of touches brought here which make this a movie so enjoyable to watch. Firstly, there is the remarkable physical change in many of the characters as the story progresses. Roseanne goes from looking like a reject from a freak show to a rather zaftig Joan Collins. Linda Hunt and Sylvia Miles likewise transform, and Streep goes from a pink, frosted confection of a romance novelist, to a black turtle necked, bespectacled writer with a gift for the "post modern metaphor". A certain tone is set when the establishing shot of Mary Fisher "pink palace by the sea" reveals her initials, M F, emblazoned on the massive gate. Streep is given countless occasions to do great business for the camera, as in a scene where her complete lack of comprehension in doing laundry leads her to put half a gallon of bleach and several dryer sheets in a washing machine. Best of all, she manages to give the finger to the "serious critics" while on the Sally Jesse Raphale Show. I honestly don't feel this film is as bad as many would like one to think. If you sit back, and let it unfold as I believe it was intended to, you will find a clever picture that has just the correct amount of overarched villainy and cynicism as many of our favorite black comedies.