After years of absence 26-year old Kay returns to her home town. Her soccer coach died and the girls from the team all gather for the funeral. The stories of Celeste, Lisa and Marie seem to... See full summary »
Amy is Jewish, nearing 30, single, and the successful author of "Why Love Doesn't Work," a self-help book for women who aren't in love. She's also a self-described sexorexic - she hasn't had sex with a man in four years and has never had a "mental orgasm." She gets plenty of advice - from her publicist, from her best friends (a married couple), from her parents, and from a priest to whom she goes to confession - so there's lots of conflicting emotion and analysis when she starts dating Matthew Starr, a good-looking playboy who's a popular L.A. male-chauvinist-pig radio shock jock. Each of Amy's theories and rules is put to the test - people may not change, but can love work? Written by
"Amy's Orgasm" certainly isn't the first film to consider sex and relationships from a woman's, or from women's, perspective(s), but it does feel unique in giving frequently visited material a fresh, sassy, and daring treatment not frequently seen.
Julie Davis has crafted a script that, for the most part, is crisp and pops with great dialogue. The narrative/plot is strained in some parts, but I'm a sappy romantic and fell for the film overall nonetheless.
Nick Chinlund is the male lead, starring here as a sleaze-baggy radio shock jock who also happens to be quite sexy. I recognized Chinlund from a great spot he did on The X-Files; it was nice to see him in an entirely different role and working the script and his scenes with Davis, the co-star *and* writer/director, very, very well.
Caroline Aaron is terrific in her supporting role, too. She gives the kind of scene-stealing performance that should attract attention from critics.
Overall, "Amy's Orgasm" is a well-acted romantic comedy that takes some pretty interesting risks. As a writer and director, Davis still manages to say something about sex and relationships and is able to do so in a manner slightly different than what we're used to seeing from most other films.
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