I can hardly make out the smarts and emotions that I used to love because all I can see is the impending conventionalism. She says, "I've tricked my body into thinking it's thinner — Spanx! First looking at the movie in comparison to the show itself, the movie simply felt flat by comparison. Unfortunately the movie has nothing to do with the wittiness and character of the series. Even leaving aside the question of why anyone would go on holiday to Abu Dhabi, everyone who has ever watched a TV show knows that the first rule is: And speaking of Manhattan, the only ethnic minorities you see there are waiting behind counters to sell the women expensive handbags. I have a child. From my perspective the fans of the show should be the ones most disappointed by the travesty that was this film.
Both movies have forgotten this and instead, we are left with Carrie squealing about Dior and Samantha wearing clothes that she seems to have stolen from Joan Collins and the whole thing adds up to Absolutely Fabulous without the fun. Judging from the hideous trailer and even more hideous scenes that have been leaked on the web, yes, all this is just beyond the capabilities of the pink-fringed, cliche-ridden, materialistic, misogynistic, borderline racist Sex and the City 2. The only rational I can see for stupidly releasing such information while you build levels of pretend security is to drive up ticket sales with the reasonable thought: The movie is about love, and treats the subject from the weakest, corniest and most disappointing standpoint. I am one of those people who have seen every episode at least 4 times, and some of them around 10 times. But the truth is, the show was fantastic: What elevated the show way above the normal chickflick tat, and way above the films, was that it had genuine emotional truth. 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. Was the show's genius a fluke that somehow slipped through their conventional, patronising net? In the show, we repeatedly see Miranda working in her office as a partner in a law firm and, yes, the job is hard and time-consuming but she loves it and her success is a badge of pride. The show was about sex. The most humiliating example of this was the review of the first film in the New Yorker by Anthony Lane, one of my most revered journalists. Second looking at the movie as a movie independent of the show, this is where the movie really fails. After I saw the first film and emerged from the cinema making a Munch-esque scream, I thought maybe Sarah Jessica Parker and Michael Patrick King the show and film's writer and director had been paralysed with fear by their foray into the cinema. This rule was repeatedly proven in the TV series of Sex and the City as the weakest episodes always involved the women leaving New York two forays to California, one to Atlantic City and it is roundly proven here because the film-makers' knowledge of the Middle East begins and ends with Lawrence of Arabia, whereas part of the fun of the show was the in-the-know details about Manhattan. After all, my God, did you see the first film? But the films have ruined them for me. The death of Sex and the City is not just a shame for fans, but for all women with higher expectations of movies about women than a compendium of cliches from the Daily Mail. I have a child. But from recent interviews they have given, and how bad the second film looks, I'm really beginning to wonder. That's right, two gay characters who always hated each other in the show but now get married because, well, they're both gay. Simple comparisons between the films and the show give a hint of the answer. Then there's the fashion. Ultimately, both Helen Fielding and Sarah Jessica Parker killed their own franchises, and what's really depressing about this is that it suggests the default position for movies and books about women, for women, is to show them as marriage-obsessed morons. And speaking of Manhattan, the only ethnic minorities you see there are waiting behind counters to sell the women expensive handbags. The first film's nervy response to this was to include a black character, but as Carrie's assistant, played by Jennifer Hudson, who is cravenly grateful for Carrie's designer cast-offs, and then returns in the end to St Louis, where black people more belong.
Video about movie revie sex in the city:
"Sex and the City 2 Review" (funny movie review)
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