Critic Reviews

53

Metascore

Based on 38 critic reviews provided by Metacritic.com
100
The best American movie about women so far this year, and probably the best that will be made this year.
88
Chicago Tribune
Michael Patrick King's screenplay hits all the right notes, building on the warmth and familiarity of the series (which King also wrote).
83
A movie that taps directly back into the show's primal appeal, which is the sweet, sad, saucy delight of sharing these women's company.
80
Can't rightly be called a romantic comedy in the dismal, contemporary sense, though it is at times romantic and is consistently very funny. It's also emotionally realistic, even brutal.
80
The movie's beating heart is the friendship between the women, who had found some sort of happiness by the show's 2004 finale. Now they're all at a personal crossroads and need one another more than ever.
75
Amid the style, sass and sexiness is plenty of sentimentality, especially at the satisfying conclusion.
75
The four women couldn't be better - or better matched. As always, Parker is the standout, cracking your heart and cracking you up with equal ease.
75
Premiere
It gives you everything you ever loved about the series, and blows it out into super-size cinematic proportions.
63
Writer-director Michael Patrick King, the creative force behind the show's later seasons, can't disguise the fact that the movie is basically five TV episodes strung together (only three hit the mark). But his script is more honest about aging than anything in "Indy 4."
60
The Hollywood Reporter
Unfortunately, where episodes of the series used to take their cue from a question posed by one of Carrie's columns, writer-director Michael Patrick King never finds that focus, and Sex and the City loses its tart edge in the process.
55
If this fabulously decked-out foursome is self-absorbed enough to be inadvertently cruel on occasion, they also suffer lots of guilt -- though their angst is rendered somewhat less angsty for viewers by the zingers, the designers, and the cheerfully objectified men on display.
40
In contrast to the series, which was quick-witted, fast-paced and self-ironic -- oh, and sexy -- the movie is earnest, often aimless (couldn't anyone cook up a plot?), visually bland (except for the fashion shows) and, at two minutes short of 2½ hours, a decreasingly amiable meander.

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