Amy's O (2002)
Runtime: 87 mins
Theatrical Release: Aug 23, 2002 Limited
Synopsis: Best-selling self-help author Amy Mandell (Julie Davis) is having a crisis. Her book is about why relationships are doomed to fail yet she has never been in a real relationship, nor even had sex in several years. Her controlling lesbian publicist (Caroline Aaron), bickering parents, and a... Best-selling self-help author Amy Mandell (Julie Davis) is having a crisis. Her book is about why relationships are doomed to fail yet she has never been in a real relationship, nor even had sex in several years. Her controlling lesbian publicist (Caroline Aaron), bickering parents, and a pair of smugly married friends (Mitchell Whitfield and Jennifer Bradford), all urge her to find a man. To everyone's surprise she falls for a handsome radio "shock jock" (Nick Chindlund) who interviews her on his breast-obsessed talk show. Their unlikely romance calls her role as a feminist--and his as a sexist pig--into question. The film works best when it's focusing on Amy's intense sexual frustration, which is nicely intensified through a pulse-raising pop-music score and frantic voice overs. Its many ANNIE HALL-style touches (Davis regularly addresses the camera), incessant psychological observations and frenetic camerawork also help keep the film's energy high. It's the second feature from writer-director-producer-star Davis (I LOVE YOU DON'T TOUCH ME) who got her start as an editor of soft-core porn. Vincent Castellanos is a comedic standout in a small role, and Jeff Cesario is good as a sexually frustrated Catholic priest who hears (the Jewish) Amy's steamy confessions. [More]
Genre: Comedies
Starring: Julie Davis, Nick Chinlund, Jeff Cesario, Caroline Aaron, Mitchell Whitfield
Screenwriter: Julie Davis
Producer: Julie Davis, Fred Kramer
Composer: Miriam Cutler
DVD Info
Release:
Aug 2, 2005
DVD Features:
- Region [unknown]
- Keep Case
- Widescreen
Audio:
- Dolby Digital Stereo - English
Additional Release Material:
- Audio Commentary - 1. Julie Davis - Director
- Production Interview - 1. Julie Davis - Director
- Trailers
Interactive Features:
- Scene Access
- Interactive Menus
Text/Photo Galleries:
- Stills/Photos
Buy It On DVD
Reviews
a nightmare date with a half-formed wit done a great disservice by a lack of critical distance and a sad trust in liberal arts college bumper sticker platitudes.
Davis' candid, archly funny and deeply authentic take on intimate relationships comes to fruition in her sophomore effort.
Despite its many infuriating flaws -- not the least of which is Amy's self-absorbed personality -- Amy's O's honesty will win you over.
When compared to the usual, more somber festival entries, Davis' highly personal brand of romantic comedy is a tart, smart breath of fresh air that stands out from the pack even if the picture itself is somewhat problematic.
One of the most plain, unimaginative romantic comedies I've ever seen.
Julie Davis is the Kathie Lee Gifford of film directors, sadly proving once again ego doesn't always go hand in hand with talent.
Davis is funny, charming and quirky in her feature film acting debut as Amy.
The whole mess boils down to a transparently hypocritical work that feels as though it's trying to set the women's liberation movement back 20 years.
Frankly, it's kind of insulting, both to men and women. And it's not that funny -- which is just generally insulting.
About Amy's cuteness, Amy's career success (she's a best-selling writer of self-help books who can't help herself), and Amy's neuroses when it comes to men.
A movie that harps on media-constructed 'issues' like whether compromise is the death of self… this Orgasm [won't be an] exceedingly memorable one for most people.
Davis the performer is plenty fetching enough, but she needs to shake up the mix, and work in something that doesn't feel like a half-baked stand-up routine.
Like Kissing Jessica Stein, Amy's Orgasm has a key strength in its willingness to explore its principal characters with honesty, insight and humor.
Davis ... is so enamored of her own creation that she can't see how insufferable the character is.
It's supposed to be post-feminist breezy but ends up as tedious as the chatter of parrots raised on Oprah.


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