Sex and the City: The Movie

Sex and the City

by Timothy Tilghman

The continuing love story of Bradshaw & Mr. Big has come to the cinema. Their on-again off-again romance reaches its own climax, if you pardon the pun. Yes, the saucy ladies who share their salacious tales of tail amongst themselves have reunited for a singular super-sized episode on the silver screen.

A prologue glimpse into the present day lives of Carrie, Charlotte, Miranda and Samantha brings the audience up to speed on their interweaving dramas four years hence. Storylines are stitched up and the mega-fan in withdrawal since the series ended immediately feels at ease with the adapted routines of these glamorous heroines.

Sarah Jessica Parker, Kristin Davis, Cynthia Nixon, and Kim Cattral all reprise their popular cable television characters in the big budget chick flick Sex and the City. One of the unexpected strengths of this film is that it connects with a wider audience beyond its anticipated core demography.

The cinematic presentation features an involved script with each woman eventually deriving at what she seeks to fulfill her life. Samantha reclaims her independence, Miranda reestablishes her relationship, and Charlotte gives birth to a baby girl. Carrie must endure a protracted roller coaster of emotional trauma before she secures her desired dream.

One noticeable behavioral characteristic of Carrie is conspicuously absent: Carrie is NOT chain smoking throughout the movie. Thankfully, the producers had the foresight to nix that obnoxious and unwelcome habit. Any smoking is relegated to an incidental presence.

A solid number of supporting characters from the original broadcast series put in appearances to rekindle the plot lines fraught with comedy, romance and sexuality. Miranda and Steve are showcased as the steamy couple caught copulating on screen. Several new faces introduce subtle interpersonal nuances into the on-going action.

The outrageous gadar factor from the cable network series has been toned down considerably for an expanded viewing public. However, there is a brief New Year's Eve smooch between two gay males that appears as if their clumsy kiss was written in only to appease that segment of the market.

The theme that opens and closes the lavish production is a metaphor about labels and love that thrives as a preoccupation for ladies living in NYC. Women motivated by style covet designer labels to enhance their lives and are driven in pursuit of love to enrich their life.

Bradshaw succeeds in detecting LOVE as the password protected codeword she needs to unlock an encrypted folder possessing unopened cyber love letters to her composed by Mr. Big. In the fairytale ending, it is LOVE that endures and fortifies their union as partners.