Sex and the City (2008)

Cute enough for an evening's mindless entertainment, but exactly that and not a penny more. Put aside any thought you might have about not caring a great deal about what happens to a group of rich, superficial white women who (you are told) are actually very smart and talented but who (you are shown) are silly twits (not to use a different vowel) whose exclusive joy in life comes from sex and shopping, and not in that order. I know, I know; we're supposed to believe this is all about love (and the search for same), but it isn't; love is secondary. We're supposed to believe it's about solidarity among a group of women friends and it is, but that's more-or-less an accident. It's really about consuming – clothes, purses, shoes – and other human beings. The introduction of Jennifer Hudson (who tries really hard not to be appalled by the level of minstrel-show tokenism her presence represents) as Carrie's personal assistant is so painful and so blatant an attempt to give a tiny bit of color to the TV series' snow-blinding whiteness that you can't help but be embarrassed for absolutely everyone. Here's another film in which women are stand-ins for what is essentially a gay-male fantasy about women (an art form that George Cukor pioneered in 1939 with _The Women_) Take your brain out and store it in Tupperware for the evening; _Sex and the City_ will make you smile, but not laugh out loud. If you spend a minute thinking about it, though, all it's going to do is make you mad.

Fmovies: Since any opinion on this movie has to be tempered by sex and viewing history let me just make it clear up front that I am a man and, while I don't dislike the series, I didn't ever get into it beyond watching (and enjoying) the odd episode that someone else was watching in the same room as I was sitting. Please feel free to dismiss/accept my opinions accordingly in light of this information. My first proper reaction to the Sex & the City movie was to baulk at the running time, which struck me as pretty excessive for what it was. I was right on this as the film is longer than it probably deserves to be but at the same time it never dragged as badly as I expected. The characters are older now and, after the series ended, all partnered up to a certain degree and "happy" in their relationships. Carrie and Big have settled into a new flat and this has made Carrie think about commitment and legal connections – a path that leads to them deciding to get married. While Big gets nervous, Carrie goes planning crazy, Miranda sows the seeds of problems in her own marriage, Charlotte plays happy families and Samantha has it all except one thing.

This plot setup creates the focus of the film – less on the free-wheeling sex and modern relationships of the series and more on the pitfalls of a mature relationship. This offered more substance to carry the film from my point of view but unfortunately this was not to be the case here. For too much of the film the material is superficial and sentimental with "love" not ever being all that real and instead smacking of easy steps in the writing that focused on events rather than the characters. Fans may say that the show was never about great depths and, in my limited experience, I agree – it was witty, light and bubbly. The problem is that, the occasional moment aside, the film just isn't that way – understandably perhaps given the narrative demands of the platform and the running time. Problem is, without the witty swiftness of the series, something else is required and this is why the substance was important – and why the film is damaged by the lack of depth on this occasion.

This doesn't make a bad film but it does severely limit it to being "average" in the main content. What doesn't help at this time of recession (and the film was released during this period) is just how endlessly capitalist the whole thing. The audience needs to care for these characters and that is a little difficult when money is no object for them, retail therapy solves everything and so much dialogue is about expensive items. To top all that, given how easy it is to get product placement into a film about shopping why on earth did we have to have such clumsy and obvious product placement (the iPhone being the worst example). The cast do their usual shtick and all look good and play comfortably with their characters. Some reviews have criticised the four actresses but the material is to blame rather than them. The male cast are mainly just narrative devices and, with the exception of Eigenberg and possibly Noth.

The Sex and the City film is an average film with lots of problems. Generally this opinion is dismissed if it comes from a male non-fan but I cannot imagine that fans of the series are totally happy with this either. It doesn't manage to capture the spirit of the series but nor does it manage to replace it with anything else of note in regards depth or substance. It is glossy and professional enough to distract but if the plan was to

I am a big fan of the show. I am one of those people who have seen every episode at least 4 times, and some of them around 10 times. Even so, I still watch the reruns, and I was really looking forward to the movie.

So, it is really upsetting that I have to give it such a bad review. I went to see it with the best of intentions. I really wanted to love it. Unfortunately the movie has nothing to do with the wittiness and character of the series. Even putting aside the wooden and/or exaggerated acting, you fail to recognize the characters who where transformed into caricatures, pathetic versions of themselves.

There were very very few lines that gave a glimpse of the old clever dialog, and they all got lost in a mass of cheesy lines about love and friendship that you even rarely anymore encounter in the corniest of Hollywood's chick flicks, and toiler humor that you only expect from movies like Harold and Kumar. OK, maybe the comparison to Harold and Kumar is a little unfair, but really I had never expected Sex and the City to rely on fart jokes for comic relief.

People comment that those who rate this movie badly are either men, or just not fans of the show. From my perspective the fans of the show should be the ones most disappointed by the travesty that was this film.

We grew to love the show because of its honesty towards sexual issues, its shocking but clever dialog, and its characters who, however unreal with their designer obsessions, uncontrollable spending and lack of real jobs, remained true to their personas regarding sex, relationships, commitment, independence.

The show was about sex. The movie is about love, and treats the subject from the weakest, corniest and most disappointing standpoint.

This movie is a fake Fendi. Dropping 15 designer names in one sentence, showing bulging men's underpants and orgasming at the sight of huge closets, Sex and the City does not make.

As for me, I will keep watching the reruns and pretend this movie never happened.

Sex and the City fmovies. Let me preface this by saying that I am a straight female who has been a fan of the SATC series since its second season. I have every episode on DVD and have honestly seen every episode at least 5 times, including the commentaries by Michael Patrick King. That said, I could not be more disappointed in the film. To say that this movie was for fans of the series is insulting in my opinion because where the series had heart, depth and some intelligence, the movie had labels, poop jokes and lame choices by the characters.

First of all, yes, Carrie Bradshaw is the main character, but could the other 3 women have been treating any more cavalierly? The "plot lines", if you can call them that, for the other characters seemed to be thrown into the mix just to give them something to do while Carrie ran around town, changing outfits and hair colors to the delighted shrieks of 15 year old fans. I can only imagine that was the audience the film wanted to capture because expecting grown women to follow this crap is insanity.

Secondly, the ending of the film made me completely lose respect for Carrie. I cannot imagine an emotionally healthy 41 year old woman making the same choice she made. I think she needs intensive therapy because she is obviously a masochist who values the ability to purchase brand name couture more than her own happiness. And if the ability to buy couture is what makes her really happy, well, then, the 15 year old target audience should be thrilled.

That said, I probably will see the sequel. I'm hoping they bring in more writers from the series to add some of the emotional oomph that this movie painfully lacked. *sigh* I just can't seem to quit SATC.

'Sex and the City,' based on the hilarious, poignant HBO comedy series of the same name, is grossly insulting. In a strong divorce from the series, the movie picks up five years after the series finale - where we find out that each one of the characters have become vapid, soulless versions of their former selves. Now, writer Carrie Bradshaw (Sarah Jessica Parker), and her friends Miranda Hobbes (Cynthia Nixon), Samantha Jones (Kim Cattrall), and Charlotte Goldenblatt (Kristen Davis) walk around New York obsessing over shoes, handbags, and love.

Carrie Bradshaw was, at the end of the show, an independent woman - not the needy girl she started out as. The movie turns it's back on Carrie's development as a character, shaping her into the stock romcom lead. Think Katherine Heigl with no charm. She is now painfully unfunny, shallow, and quite possibly retarded. She spends the first half the film setting herself up to have the man whom supposedly loves her jilt her - which he does. The second half of the film, Carrie spends complaining about literally everything, dying her hair brown, and discussing bags and love with a painfully useless, annoying Jennifer Hudson, as Carrie's new assistant Louise from Saint Louis.

CARRIE: "Louise from Saint Louis. Oh you brought me back to life." LOUISE: "And you gave me, Louise Vuitton."

Yes the writer of "The Real Me" and "A Woman's Right To Shoes" actually wrote this garbage.

Lawyer Miranda is now a frigid shrew who swats her deadbeat husband away like a fly every time he tries to get near her - and spends the entire 2.5 hours complaining about how marriage changed her, it made her move to Brooklyn. She is no longer likable, funny, or smart.

Meanwhile, housewife Charlotte spends the 2.5 hours prancing around like a little girl, screaming at the top of her lungs, and carrying her confused, Asian daughter around like a dog in a handbag. The problem with continuing Charlotte's storyline on the show is her storyline came to the only logical conclusion it could have had at the end of the show. Now, it' just a retread through old territory. Davis is ultimately given a thankless role in this film.

However, it is Samantha who is given the most honest adaptation. While certainly a cartoon version of her former self, Samantha's story revolves around her inability to maintain a monogamous relationship - despite being very much in love. However the payoff is ultimately ruined as Samantha is no longer human.

This incarnation of 'Sex' is so incredibly shallow - it basically acts a prop to advertise luxury goods. The most obvious scenes to illustrate this are when Carrie tries on designer wedding dresses for a Vogue shoot, which goes on for an excruciating 10 minutes, followed closely by Carrie and co. going through her closet trying to decide what to take to her new apartment with husband-to-be Big (Chris Noth). The scene is ultimately pointless as she is moving to a closet that is 10 times to the size - which, if you can imagine it - is actually a plot point in a film that will make you feel compelled to throw out every designer label you own. The show was about the importance of following your own trajectory, and self actualization. The film abandons this concept.