Christy Lemire is a longtime film critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series "Ebert Presents At the Movies" opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Love Questionnaire here.
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Carrie dates a baseball player while on the rebound but breaks it off when she realizes she's not over Big. She then dates a sell-out filmmaker, a shoplifter, and a nice guy she scares away by snooping, and then takes up with Big again. She at first keeps this from her friends. Her and Big's relationship is rocky, and when he announces that he might have to move to Paris for a year but doesn't overtly invite Carrie to come with him, they break up a second time. Carrie then tries without success to convert a friend-with-benefits to something more, dates a writer with a great family but who is always "early" in bed, and then a recovering alcoholic who uses Carrie to replace his old addiction. She then runs into Big, returned from Paris, and his new 20-something fiancée, Natasha (played by Bridget Moynahan).
Sex and the City is currently syndicated in the US by HBO corporate sibling (under Warner Bros. Discovery) Warner Bros. Television Distribution. CBS Studios (successors to Rysher Entertainment and Paramount Domestic Television) and their distribution arm own international rights. The series was filmed with traditional broadcast syndication in mind during its run, and pre-planned scenes with different dialogue and content were created specifically for syndication, along with appropriate cuts of each episode to fit a 22-minute timeslot which includes advertising.[31]
In February 2021, a remastered high-definition version of the series was released on HBO Max. The film negatives were rescanned at 4K resolution and reformatted to a 16:9 aspect ratio by extending the sides of the frame.[32]
As well as missing out on some special features, many in Europe had trouble with the region 2 edition of the season 1 DVD. The season was not converted into a PAL video signal; it instead remained in its original American NTSC format, which caused compatibility problems with some European television sets and DVD players. All subsequent Region 2 DVD releases of the program were appropriately transferred to PAL video using the original film prints, and season 1 has since been re-released in PAL format.
A feature film based on Sex and the City, written, produced and directed by Michael Patrick King, was released in May 2008. The four lead actresses returned to reprise their roles, as did Chris Noth, Evan Handler, David Eigenberg, Jason Lewis, Mario Cantone and Willie Garson. In addition, Jennifer Hudson appears in the film as Carrie's assistant. The film is set four years after the series finale.[37] The film was released to mixed reviews by critics; at the box office, it was the highest-grossing romantic comedy of the year.[38][39] The film was released on DVD on September 23, 2008.[40]
Sex and the City 2 was released in May 2010. The film stars Sarah Jessica Parker, Cynthia Nixon, Kristin Davis, Kim Cattrall, and Noth, who reprised their roles again, as well as Handler, Eigenberg, Lewis, Cantone and Garson. It also features cameos from Liza Minnelli, Miley Cyrus, and Penélope Cruz. The film is set two years after the events of the first film. It was critically panned [41] but a commercial success at the box office.[42]
It was rumoured in 2016 that a script for the third and final film had been approved. However, on September 28, 2017, Parker said to Extra that the film had been cancelled, stating, "I'm disappointed. We had this beautiful, funny, heartbreaking, joyful, very relatable script and story. It's not just disappointing that we don't get to tell the story and have that experience, but more so for that audience that has been so vocal in wanting another movie."[43] It was reported that Cattrall did not want to be involved in the film after learning of storylines involving Mr. Big dying of a heart attack and Samantha receiving sexting and nude pictures from Miranda's teenage son Brady.[44][45]
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Roy Armes's new book Postcolonial Images: Studies in North African Cinema provides an extremely useful survey of films from Algeria, Tunisia, and Morocco, as well as films made by filmmakers of the North African diaspora in the "postcolonial" or politically post-Independence period. It supplements well Armes's other books addressing North African cinema, providing a useful addition to his Arab and African Film-making (1991, with Liz Malkmus), Omar Gatlato (1998), and the Dictionary of North African Film Makers (1996).
Armes begins his work with a provocative claim that he broaches through an examination of Edward Said's contention concerning the deeply interlaced developments of the nineteenth-century European novel with European colonialism. If Said thought the literary genre and the colonial politics were impossible to think without each other, Armes elaborates, in the introductory pages of the book, a similar argument concerning the development of cinema and its deep tie to twentieth-century colonialism and U.S. imperialism. He provides this proposition as a backdrop for his survey primarily because of the narrative theory he sees encapsulated within Said's argument. If Peter Brooks argued that the eighteenth- and nineteenth-century novels functioned through the desire for a plot that included every possibility, something Armes writes could be said too of Hollywood cinema, Armes favors a Saidian reading that focuses on what is not included, and therefore what kinds of omissions become particularly striking for the contemporary reader who has knowledge of the forms of coloniality that emerge in those textual omissions. Said, in his reading of Jane Austen's Mansfield Park focused on the omission of Antigua as a name. Similarly, Armes tells us we should look to the naming of sites conspicuous through their omission in Western (mostly French) films, shot in North Africa frequently, but utterly silent on the topic of colonial presence. Even as "the films produced in the Maghreb inevitably had a very close relationship with the colonial authorities," (p. 5) there is a conspicuous silence on this matter which needs to be examined if the history of film in the region is to be understood. 2ff7e9595c
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