A sweet, very funny, volcanically romantic comedy-drama about relationships in post-9/11 New York City.
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:01-12-2006
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
Reviews for Shortbus
The film proves that nudity and unbridled sexuality alone are not enough to entertain.
The reality of the film is that it's just an obvious and tedious melodrama about lovers negotiating the minefields of emotion and sex, and not quite connecting.
If [Mitchell's] goal was to integrate actual sex into fictional characters' lives in ways that are not distracting, a reality check is in order.
Well-stocked with witty lines, funny situations and credible, intelligent character insights.
As the loving story unfolds in the second and third acts, you realize that no mere porno would ever go this far into the emotional realm of its copulating couples.
[Shortbus] spends a lot of time in those messy gray areas, discovering how sex can clear things up or make them cloudier
I can't believe that the same person who wrote and directed the brilliant "Hedwig and the Angry Inch" made the ludicrously bad "Shortbus".
More than a stunt...a sincere film that explores cynical sexual discord and hopefully concludes that forgiveness and sexual healing can repair the disrupted currents of modern urban life.
Mitchell adds his quirky auteur touch (most notably with a series of 3-D animated cityscapes that look almost handmade), and the result is eminently more satisfying.
Not surprisingly, the graphic sex on display in Shortbus has eclipsed all other considerations, including the fact that it's a fairly interesting movie.
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.
If the brush strokes are sometimes a bit sloppy, the grand design of Shortbus endears.
It's a grand ambition, only partially realized. But watching Mitchell try makes for an exhilarating trip.
Its sexual provocations aside, the film works best as an idealized portrait of a specific time and place, a hipster bohemia where everyone struggles to find meaning in the everyday acts of living.
On one hand... [Shortbus] is a libertine's dream; on the other, it's a deliriously moral film.
The boldest provocation of Mitchell's sweet, tender and gently funny film may be its exuberant celebration of community and togetherness at a cultural moment rife with fatalism and disconnect.
Mitchell has stated that his goal with Shortbus was to make a serious film that incorporates hardcore material. To an extent, he has done that. The problem is it's not a good movie.
It's not art, it's not shocking and worst of all, it's not even particularly new.
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