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Shortbus (2006)
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Reviews Counted:118
Fresh:77
Rotten:41
Average Rating:6.4/10
Consensus: The sex may be explicit, but Mitchell integrates it into the characters' lives and serves the whole story up with a generous dose of sweetness and wit.
Theatrical Release:Oct 6, 2006 Limited
Box Office: $1,851,628
Synopsis: Writer/director John Cameron Mitchell follows up the cult classic HEDWIG AND THE ANGRY INCH with another salacious slice of sex-laden cinema. Mitchell interweaves three separate tales of highly... Writer/director John Cameron Mitchell follows up the cult classic HEDWIG AND THE ANGRY INCH with another salacious slice of sex-laden cinema. Mitchell interweaves three separate tales of highly sexed and sexually frustrated New Yorkers, all of whom find some kind of salvation at an underground club named Shortbus. Anything goes at Shortbus--wild orgies between people from different ages, backgrounds, and sexual preferences are treated as commonplace, and most of the sex scenes shot through Mitchell's voyeuristic lens are completely unsimulated. Mitchell allows little time for his audience to pause for breath, opening SHORTBUS with a frantic collage of copulation and carnality that features most of his central characters. These include Sofia (Sook-Yin Lee), a sex therapist who has never reached full orgasm; gay couple James (Paul Dawson)--who begins the movie by fellating himself--and Jamie (PJ DeBoy); and Severin (Lindsay Beamish), a dominatrix who finds herself unable to find true love. Mitchell lets his cast of characters unravel their tales of woe, interspersing the touching and mostly sad stories with eye-popping scenes from Shortbus and swooping birds-eye shots of a computer simulated version of New York City. The director also draws heavily on an indie-rock soundtrack, making repeated and effective use of the beautiful "Winters Love" by Brooklyn-based group Animal Collective. But it's the sex scenes that will really get tongues wagging, and its testament to Mitchell's fearless and uncompromising vision that he depicts sexual acts that run the full coital gamut, from amusing to titillating to shocking. Amid all the boundary-pushing there is a tender heart buried in SHORTBUS's central narrative--which revolves around the search for identity and acceptance--but less sensitive viewers who seek amusement in the singing of the National Anthem into a prominent orifice will also find plenty to enjoy here. [More]
Starring: Raphael Barker, Lindsay Beamish, Justin Bond, Paul Dawson
Starring: Raphael Barker, Lindsay Beamish, Justin Bond, Paul Dawson, Yolanda Ross, Jay Brannan, Shanti Carson, Sook-Yin Lee, PJ Deboy, Peter Stickles, Bitch, The Hungry March Band
Director: John Cameron Mitchell
Director: John Cameron Mitchell
Producer: Howard Gertler, Tim Perell
Studio: ThinkFilm
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Reviews for Shortbus
I can't believe that the same person who wrote and directed the brilliant "Hedwig and the Angry Inch" made the ludicrously bad "Shortbus".
The premise -- a roundelay of New Yorkers looking for connection, or to escape it -- feels tired.
There may be a variety of erotic practices on parade here, but the film leaves viewers with few real insights into either human nature or sexuality.
Despite the buzz about its hard-core hanky-panky, writer-director John Cameron Mitchell paints a bland, bleak portrait of navel-gazing New Yorkers driven by carnal pleasures -- or lack of them.
The premise of this story is pretty fascinating but it seems that it gets diluted, not enhanced by the sheer amount of sex. I would be fakin' it if I recommended this movie.
Director John Cameron Mitchell ("Hedwig and The Angry Inch") flaunts cinematic tradition with a raucous sex comedy filled with truly shocking sex acts that underscore his vision of New York as a playground of debauchery.
Wearing its controversy-courting eagerness to shock on its sleeve, the film aims to challenge taboos, but comes up short.
Another telling example (The Brown Bunny, Anatomy of Hell, Bellocchio's Devil in the Flesh) that hardcore sex seems better suited to hardcore sex films.
The characters' lack of any real substance--it's really only all about attitude--make one gradually lose interest until the next in flagrante delicto moment.
...the end result [is] a movie that has little to offer all but the most avant garde viewer.
Shortbus feels uninhibited but uninhabited, a clinical schematic exercise in the intercourse of human events.
Mitchell uses a dubious but vividly aestheticized tableau of New York City to sweep in and out of the lives of characters whose problems are so weakly articulated they hardly inspire sympathy.
If Mitchell's attempt was to bring moments like this to the mainstream of nonchalant intimacy, he fails since the sex scenes have the atmosphere of exhibitionism more than an expression of love or feeling.
Rankly sentimental...though the prudish should definitely steer clear, what ultimately derails Shortbus is that it's actually far less daring than it pretends to be.
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