It’s been four years since we last saw columnist Carrie Bradshaw (Sarah Jessica Parker) and her faithful best friends--Miranda (Cynthia Nixon) Charlotte (Kristin Davis) and Samantha (Kim Cattrall). The years have been kind to them: Charlotte is living her dream life with her loving husband Harry (Evan Handler) and adoptive 3-year-old Chinese daughter; Samantha has moved to L.A. to manage her boy toy Smith’s (Jason Lewis) acting career and give monogamy a chance; Miranda is a working mom in Brooklyn juggling her demanding career and her marriage to Steve (David Eigenberg); and finally Carrie now a bestselling author who has settled into domestic bliss with her beloved “man friend” John James Preston aka Mr. Big (Chris Noth). Domestic bliss? Carrie and Big? Is that possible? Well let’s just say the road to happiness still isn’t smooth for any of them (save maybe Charlotte) but the film’s outcome is a wholly satisfying experience. For our four lovely leading ladies reprising their Sexy alter egos must have been like riding a bicycle. Parker Nixon Davis and Cattrall defined their SATC roles so succinctly during the HBO show’s six-year run that watching them again feels as if they never stopped. Parker especially eases right back into Carrie mode albeit older and wiser. Gone are her earlier youthful hang ups about commitment replaced by a stronger more mature Carrie--who still has her quirky insecurities. And of course her fabulous one-liners still fly fast and furious (“I need to get out of this Mexi-coma” is a personal favorite). Oscar-winner Jennifer Hudson adds a fifth element to the proceedings as Carrie’s smart and sassy assistant who has firm belief in love. The men of SATC also fit right in again. Noth’s Big in particular continues to frustrate but ultimately becomes the man we all knew he could be. The road to a big-screen adaptation of Sex and the City was also not a smooth one. After the show ended in 2004 there were immediate talks about doing a movie version. But not everyone in the cast was ready to continue the gig--namely Kim Cattrall who decided she needed a break (and possibly more money). Still through the perseverance of producer Sarah Jessica Parker and writer/director Michael Patrick King SATC The Movie finally became a reality--and we are very thankful that it did. Many fans just couldn’t let go after the show’s series finale; they wanted more. And so the film gives back in spades bringing us back into these women’s lives for awhile longer--almost to a fault actually. The half-hour TV show was perfect but a SATC film at two hours and some change drags a little in the middle. There’s also the fact the film is certainly grander glossier in scale than the more grounded TV show. Nevertheless it’s just what the doctor ordered for those lovers of all things Sex and the City. Bring on the sequels!
Let's hear it for the old guy who in this movie comes off sexier than his buff young accomplice (Dermot Mulroney). OK the old guy happens to be the gracefully aging icon Paul Newman -- as a feisty heistmeister who dodges a long prison sentence and then teams up with his equally conniving rest-home nurse (Linda Fiorentino) on a bank job gone wrong. "Where the Money Is" is breezy suspenseful and as much a love story as anything else -- if you call mentoring a new life in crime a kind of love. The mission-improbable caper is no more or less entertaining than a "Rockford Files" rerun but the film's swerving joyride takes its real thrills from the great escape that Fiorentino's Bonnie Parker makes from a dead-end life in the married lane.
Newman still hasn't lost it and as Henry Manning he doesn't miss any nuances in the edgy balance between streetwise wariness and amiable rapport with his sultry new colleague. The steam-powered Fiorentino has forged her career by making danger look casual and this is her most alluring work since "The Last Seduction" added another zero to her salary. Her chemistry with Newman a flirty twist on the idea of honor among thieves is really what makes this movie worth seeing. Mulroney is serviceable as the dim but lovable hubby a supporting role that's more foil than fully etched character.
We can all thank director Marek Kanievska for deciding not to have the May-December duo end up in the sack and leaving them simply professional cohorts. The director's admirable sense of comic timing works all the better by not letting the laughs get in the way of his leads' exploration of their characters -- although there's no denying the limits of this frothy genre. Perhaps Kanievska's greatest feat here is allowing Newman to retain his dignity in close-up.