In January 2006, The Hollywood Reporter announced CBS had greenlighted the project, but it was shelved after completion. The film was released in Italy, New Zealand, the Dominican Republic, Brazil, Norway, and Hungary before finally being broadcast in the US by the network on June 7, 2008.
Mary McNamara of the Los Angeles Times said, "The new Sybil . . . is told at such high speed that it becomes more psychiatric variety show - for our next number, Sybil as a boy! - than the careful excavation of a mind through the life-changing relationship of patient and doctor, which made the original so unforgettable . . . It's essentially a two-woman play, and these particular women do the absolute best they can with what is given them. Lange's Wilbur is unflinching and unflappable, with equal parts compassion and ambition, empathy and bitterness, while Blanchard is a marvel of physical and vocal elasticity, changing into 16 people, often several in the same conversation. The problem is the almost breakneck pace which requires that all emotional nuance be jettisoned in favor of showing the range of the personalities."
In Newsweek, Joshua Alston said the film "has the infectious scrappiness of a community-theater troupe, one that isn't that great but has enough conviction to make up for its lack of self-awareness . . . And while I wouldn't watch Sybil a second time, it was raucous, nostalgic fun. I could say it's the worst movie I've seen in some time, but I'd prefer to say it's the best at being not good."
Roger Catlin of the Hartford Courant observed the film "is at once a little more true to the original but also, at half the time, rushed . . . Tammy Blanchard has the role that could be either a career-making tour de force or a showoffy mess and pulls it off."
In the Times Herald-Record, Kevin McDonough said, "Sybil seems to have been written to challenge and reward the serious performer. It is an actor's dream and potential nightmare, a role that calls upon the player to shift voice, tone and personality on a dime . . . Blanchard acquits herself well. She does not eclipse the memory of [[Sally Field|[Sally] Field]]'s Sybil, but it is a performance to remember . . . The saddest thing about this Sybil is its place in the schedule. A film like this used to be showcased during sweeps, not hidden away on a Saturday night in June like some poor relation . . . CBS has shown the movie, its stars and the story extreme disrespect with this treatment."
Matthew Gilbert of the Boston Globe wondered, "Why bother taking on a classic with limited popular potential when the remake is doomed to pale creatively next to the original? I'm thinking maybe this retelling of the true story . . . was hatched to give actress Tammy Blanchard a big vehicle to suit her big talent . . . Otherwise, this Sybil doesn't quite justify itself . . . The remake feels more like a sketch of a troubled life than a fully realized portrait, which also detracts from its power to break your heart."