Speaking of Sex

I don't know exactly what went wrong with this movie, Bill Murray can do comedy, Jay Mohr was funny in Mafia, but I think it was the script that has messed this movie up big time. I know it's hard to make up good jokes, and all the good stuff has already been used in other movies, but is that really a reason to resort to sh***y sexual jokes? I mean, you can make BIG sexual jokes, that are almost revolting (the sperm gel used by cameron diaz in there is something about mary) but will freak people out and make them laugh, or you can do the other jokes.. and sadly they have chosen for the save path. These jokes are weak, I have the idea that the writer is a bit afraid of sex himself, and tries to write the trauma away with this dreadful story.

But enough about the story what about the cast? lot of semi-great names, but no real big names, that is not a shame, I think the actors did pretty good considering the script that was given them. None of them are truly great, Lara Boyle is candy for the eye as usual, but nothing more. The characters are just flat, no crazy persons (a good comedy must have a weird or crazy person in my opinion) they are all at the same level. Even a veteran like Bill Murray delivers a meagre performance. Almost like the director said "people! don't try to be too funny" they seem to be held back by something.

And last, but not least, the directing. I think the director did a good job I like the short flashback thing were he let's the picture slide into the screen. Also the "private eye and victim woman" telephone conversation with 2 other people was brought very good. The director did his best and made a movie what was a 4 out of 10 into a 5 out of ten.. so 5/10, maybe nice for the die hard Murray fans. But not very funny.

This movie was similar in many ways to a French sex farce. So I guess you'll have to call this an American sex farce. The script was well thought-out, though there were a few characters which didn't get enough air time.

James Spader played a neurotically geeky psychiatrist, which is a bit of a different character for him, as he usually plays sexual deviants. Good manic performances by Jay Mohr, Melora Walters, and Lara Flynn Boyle. Bill Murray and Catherine O'Hara also shown in their supporting roles. Phil Lamarr had a hilarious line, despite being only a cameo appearance.

There were several intermingled stories playing all at once. It was well done because if one story started to drag, they could switch to another story to keep the interest fresh. This is really light-hearted stuff, but it did have some very subtle comic moments in places that you might miss if you don't watch it more than a couple of times, so watch it at least a couple of times.

This broad sex farce fell through the cracks in late 2001, despite an outstanding pedigree; it was produced by the great Alain Sarde (The Pianist, Vera Drake), helmed by the gifted John McNaughton (Henry: Portrait of a Serial Killer, Mad Dog and Glory), and scored by George Clinton, and sports a first-rate cast including James Spader, Bill Murray, Melora Walters and Catherine O'Hara. That sounds like a surefire commercial home run, but the movie never received a proper U. S. theatrical release.

Though it isn't difficult to see why French producers initially greenlit the project, it's also likely that the wall-to-wall explicit dialogue and subject matter may have scared off U. S. distribs. The movie is so gleefully raunchy and lewd that it feels like a relic of the 70s - it has the same open-armed embrace of freewheeling sexuality that comedies like John Byrum's Inserts and Bertrand Blier's Calmos did - lots of droll talk about sexual anatomy and orgasms and technique.

For those viewers willing to run with this, Speaking has a promising setup and numerous belly laughs during its first 70 minutes or so, and a couple of plum performances - one by Spader, as a harried, sexually starved therapist, another by Murray as a sleazy, toupé-wearing attorney - the kind of scuzzbucket who might later specialize in defending Me Too predators. These two are a joy to watch. Walters also does first-rate work as a sweet but naive housewife, swimming way out of her depth with these sharks. And some of the same McNaughton directorial gifts that were on display in Henry and Mad Dog and Glory manifest here - particularly his sneaky and subtle way of visually establishing character. Another bonus: his clever approach to filming Spader and Walters's first tryst, which includes witty smash cuts to screaming African masks at the point of climax.

Initially, we may feel we're in for a home run with this picture. But after the first hour, the material begins to lose steam. Two recurring jokes - one involving a couple of cutesy poo euphemisms for genitalia and another about the Spader character's masterful sexual technique - may earn a smile the first time, but get repeated ad infinitum. On top of this, none of the final narrative reversals work at all. The third act feels as if it may have been cut, given a hastily introduced and abandoned thread about the sexual commercial exploitation of Walters's character that leaves a rancid taste in our mouths.

I wouldn't necessarily discourage anyone from seeing this - the film isn't a total wash, and it has its pleasures. But it falls short of the greatness of Henry and Mad Dog and eventually wears out its welcome.

James Spader was so adorable in this movie. His geeky quarks and pitifulness are so cute that he kinda reminds me of a squirrel in a scientist's costume or a doctor's outfit. His character is put through so many embarrassing situations that you kinda want to take him home and keep him like a pet or something. Bill Murry seemed out of place. There was absolutely no chemistry between him and O'Hara. His acting was machanical and the performance was cheesy. Melora Walters pulls out an okay performance. She starts out strong, but all of a sudden at the end of the film she is so different; like she's not staying faithful to the character. This is a good sit on the couch with a girlfriend or two movie, if you are looking for something to make fun of. All in All I think I enjoyed it.

What's the deal with James Spader? Why does he always end up playing the incompetent boob with weird sexual fetishes?

This superbly cast film is well-written and well-directed. The thing is, it doesn't really have any zingers, any defining moments. The talented James Spader (Crash) and Lara Flynn Boyle (The Practice) are two therapists that get emotionally involved with a troubled couple, the talented Melora Walters (Being John Malkovich) and a very down-to-earth Jay Mohr (SNL). Spader is particularly gifted through his mannerisms and uncomfortable demeanor, although Walters' performance as a simple and emotionally confused woman is equally amusing. As things between characters get complicated, the director does an excellent job of keeping the pacing going; the film never really loses momentum. The writing is based mostly on the situation, yet a couple of twists and subtleties really keep the viewer enguaged. Especially brilliant is Bill Murrary (Groundhog Day) who steals scenes from Phil LaMarr (MAD TV) and Catherine O'Hara (SCTV) with his exaggerated delivery. Furthermore, the director uses several manic cuts and tricks to keep the images fresh. The only real sore points stem from the fact that there isn't much TO the movie. It's hard to find an emotional connection with any one character, such that by the end, you're more interested in seeing what will happen as opposed to hoping for happy fates. Furthermore, the script's humour is mostly character-based; there aren't really any lines that bowl you over or stick in your head. But the dialogue is well-scripted and well-delivered. This movie isn't really a romantic comedy; but a piece of good entertainment for several demographics. It's got a Snatch feel with a Zoolander comedic touch. Great entertainment for an afternoon and a definite renter if you want to laugh a bit. James Spader forever.