While wrestling with the pressures of life, love, and work in Manhattan, Carrie, Miranda, and Charlotte join Samantha for a trip to Abu Dhabi (United Arab Emirates), where Samantha's ex is filming a new movie.
Michael Patrick King
Sarah Jessica Parker,
Benjamin Barry is an advertising executive and ladies' man who, to win a big campaign, bets that he can make a woman fall in love with him in 10 days. Andie Anderson covers the "How To" beat for "Composure" magazine and is assigned to write an article on "How to Lose a Guy in 10 days." They meet in a bar shortly after the bet is made.
After moving in together in an impossibly beautiful New York apartment, Carrie Bradshaw and Mr. Big make a rather arbitrary decision to get married. The wedding itself proves to be anything but a hasty affair--the guest list quickly blooms from 75 to 200 guests, and Carrie's simple, label-less wedding gown gives way to an enormous creation that makes her look like a gigantic cream puff. An upcoming photo spread in Vogue puts the event--which will take place at the New York Public Library--squarely in the public eye. Meanwhile, Carrie's girlfriends--Samantha, the sexpot; Charlotte, the sweet naïf; and Miranda, the rigid perfectionist--could not be happier. At least, they couldn't be happier for Carrie. Charlotte still has the unrealized hope of getting pregnant. Samantha is finding a loving, committed relationship more grueling than she could have imagined. Miranda unwittingly lets her own unhappiness--created when Steve admits to cheating on her just once--spoil Carrie's. After a ... Written by
To keep the plot a secret during the shoot, Sarah Jessica Parker put a fake cover, "National Park" by Jesse Lasky, on her copy to keep off prying eyes. See more »
When Carrie makes lists to plan the wedding, the position of her Sharpie marker (clipped to her tank top) changes position several time during the shot. Just before she gets up off the bed to show her wedding dress, the Sharpie is gone. See more »
Year after year, twenty-something women come to New York City in search of the two L's: labels and love.
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Cute enough for an evening's mindless entertainment, but exactly that and not a penny more. Put aside any thought you might have about not caring a great deal about what happens to a group of rich, superficial white women who (you are told) are actually very smart and talented but who (you are shown) are silly twits (not to use a different vowel) whose exclusive joy in life comes from sex and shopping, and not in that order. I know, I know; we're supposed to believe this is all about love (and the search for same), but it isn't; love is secondary. We're supposed to believe it's about solidarity among a group of women friends and it is, but that's more-or-less an accident. It's really about consuming clothes, purses, shoes and other human beings. The introduction of Jennifer Hudson (who tries really hard not to be appalled by the level of minstrel-show tokenism her presence represents) as Carrie's personal assistant is so painful and so blatant an attempt to give a tiny bit of color to the TV series' snow-blinding whiteness that you can't help but be embarrassed for absolutely everyone. Here's another film in which women are stand-ins for what is essentially a gay-male fantasy about women (an art form that George Cukor pioneered in 1939 with _The Women_) Take your brain out and store it in Tupperware for the evening; _Sex and the City_ will make you smile, but not laugh out loud. If you spend a minute thinking about it, though, all it's going to do is make you mad.
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