New York Magazine caught up with Sex and the City’s Mr. Big, Chris Noth, at the premiere of Philip Seymour Hoffman’s directorial debut Jack Goes Boating (check out my review here.) When asked about the popular franchise that had a rough summer with the critically panned sequel, Sex and the City 2, Noth sneered:
“It’s over. The franchise is dead. The press killed it. Your magazine fucking killed it. New York Magazine. It’s like all the critics got together and said, ‘This franchise must die.’ Because they all had the exact same review. It’s like they didn’t see the movie.”
Full Disclosure: I was a huge SATC fan, but after the rough ride that was the first movie and the trainwreck that was the ad campaign for the second – they lost me. I’m hoping Noth’s right, and the sassy girls with puns and party dresses have been put out to pasture before they embarrass themselves – and those of us who loved them – any further.
Are you upset SATC is dead?
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not […]
In the case of evaluating David Cronenberg, — or at least forming the sort of career narrative seemingly essential to auteurist analysis — it’s inevitable to propose something of a rupture within his oeuvre: the very evident graduation from grindhouse to arthouse, and, with it, an ascension from body to mind. What dictated these labels […]
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. If we were provided screener copies, we’ll have our own write-up, but if that’s not the case, one can find official descriptions from the distributors. Check out […]
Writing about the films of Robert Bresson usually begins by informing reader that his films must be discussed through a trance of hushed tones and quiet veneration. There is no room for rushed judgement or quick-witted observations; Bresson makes Serious Art, as opposed to Hollywood directors who do not. There are the key phrases to […]
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