sex, lies, and videotape

Name: sex, lies, and videotape
Genre: Drama
Released: August 4, 1989
Duration: 100 min
Rating: 86
Cast: Andie MacDowell, James Spader

1989

METASCORE

Universal acclaim based on 17 Critic Reviews

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USER SCORE

Generally favorable reviews based on 81 Ratings

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7.8

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7.8	Your Score
7.8	User Score Generally favorable reviews based on 81 Ratings

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Sex, Lies, And Videotape

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Movie Details & Credits

Criterion Collection, The | Release Date: August 4, 1989 | R

Starring: Andie MacDowell, James Spader

Summary: Written in eight days on a trip to Los Angeles by first-time feature director Stephen Soderbergh, and shot in five weeks on a meager $1.2 million budget, the film tells the story of Graham (James Spader), who visits old friend John (Peter Gallager), and engages John's wife (Andie McDowell), and her sister (Laura San Giacomo) in his uniqueWritten in eight days on a trip to Los Angeles by first-time feature director Stephen Soderbergh, and shot in five weeks on a meager $1.2 million budget, the film tells the story of Graham (James Spader), who visits old friend John (Peter Gallager), and engages John's wife (Andie McDowell), and her sister (Laura San Giacomo) in his unique method of overcoming his unusual sexual dysfunction.… Expand

Director: Steven Soderbergh

Genre(s): Drama

Rating: R

Runtime: 100 min

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Metascore

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Critic Reviews

100

Caryn James

Astonishing... One of the freshest American films of the decade. [4 Aug 1989]

100

Sheila Benson

Electrifying… As writer, director and editor, [Soderbergh’s] control is mesmerizing. It's also more than a little creepy; as though Soderbergh were drawing us, a step at a time, into a warm pool where intimate secrets flowed back and forth as simply as currents of water. [4 Aug 1989, Calendar, p.6-1]

100

Peter Travers

A movie of prodigious power and feeling that is also high-spirited, hilarious and scorchingly erotic. Read full review

Rita Kempley

What "The Big Chill" was to baby boomers, the inspirational sex, lies, and videotape is to the mall crowd. It's designer soul-searching, a looking glass for a generation. Read full review

Mike Clark

Twenty years ago, you could view early works of big-splash directors and often tell where they were coming from - or going. Yet Soderbergh and his debut project are mysteries. What can possibly come next? You won't be able to drag me out of line opening night. [4 Aug 1989, Life, p.1D]

Staff (Not Credited)

Compulsively watchable. Read full review

David Sterritt

The first half is full of verbal and visual surprises, but the later scenes are talky and dull, as if filmmaker Steven Soderbergh had lost interest in his subject and his characters. Which would be understandable, since the story often seems more calculated than heartfelt. [4 Aug 1989, Arts, p.10]

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User Reviews

NachoC.

Jul 20, 2009

Wow. Soderbergh stop making big budget films, come back to writing solid screenplays and drawing the best out of actors. SLV was a fantastic film, highly recommended.

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MarkR.

Aug 24, 2009

One of the best films I've ever seen. almost twenty years old and has lost none of its erotic and intellectual impact.

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ryancarroll88

Aug 27, 2010

It doesn't necessarily bring anything new to the table, but provides an interesting look at sex and relationships and all the kinks in between the two. You have to give director Steven Soderbergh credit for making a movie that focuses completely on sex without having any actual sex scenesIt doesn't necessarily bring anything new to the table, but provides an interesting look at sex and relationships and all the kinks in between the two. You have to give director Steven Soderbergh credit for making a movie that focuses completely on sex without having any actual sex scenes (or even nudity). It's also nice to see a film that deals with the subject matter so maturely without having to get Woody Allen involved.… Expand

0 of 0 users found this helpful00

RobertR

Jul 22, 2007

Sex, Lies, and Videotape is an imposingly inherent annotation on infidelity. Its four separate protagonists share affinities in their exposure to sex, one being their reluctance to completely discuss sex as a sober topic. Though it appears that Graham is the most sophomoric of the Sex, Lies, and Videotape is an imposingly inherent annotation on infidelity. Its four separate protagonists share affinities in their exposure to sex, one being their reluctance to completely discuss sex as a sober topic. Though it appears that Graham is the most sophomoric of the characters, his ability to comprehend sex as a momentous and frustrating force in life is a profound revelation that permits the transcendence of his character, which deepens the dimensions of… Expand

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Spangle

Jan 12, 2017

The fact that this is a debut is astounding, as is the fact that I used to not like Steven Soderbergh. Honestly, for sure a talented guy, he is often somebody I forget about, even if I enjoy his films. Years ago, my first introduction was The Informant, which I actually walked out of inThe fact that this is a debut is astounding, as is the fact that I used to not like Steven Soderbergh. Honestly, for sure a talented guy, he is often somebody I forget about, even if I enjoy his films. Years ago, my first introduction was The Informant, which I actually walked out of in theaters. That may have been a mistake, but I still need to rewatch (or fully watch) it to find out for sure. Afterwards, I watched Contagion and hated it, becoming fully convinced that he was a hack. Of course, as my recent rewatch showed, my opinion on Contagion has changed a lot. Since seeing these two long ago, I have seen and loved many of his works including Traffic, Solaris, Side Effects, Out of Sight, and I am even an apologist for his throwback 2006 bomb The Good German. Tobey Maguire may be a miss in the movie, but it is still a great take on 1940s noir, dammit! Now, this introductory paragraph exists largely because this is his first feature. Often times, watching a debut from a director whose work you enjoy proves disappointing. Sex, Lies, and Videotape, however, is not your typical work. An exploration into human sexuality with a raw, unhinged, and delightfully odd script, the film may lack the polish of his later works, but there is terrific wealth in that lack of polish.

Sex, Lies, and Videotape is about the arrival of a mysterious man, Graham (James Spader), who used to be friends in college with John (Peter Gallagher). Previously incredibly promiscuous, Graham is now impotent and only able to perform alone. As such, he videotapes women talking about sex and their history of having sex. This sometimes can get a little sensual, but Graham never actually does anything with a subject and is strict with nobody else seeing a tape. One of the women he tapes, Cynthia (Laura San Giacomo) has heard about Graham from her sister Ann (Andie MacDowell). Repulsed by his tapes, Ann tries to stop her sexually liberal sister from seeing him, but Cynthia cannot be stopped. Of course, the awkward part is that Ann is very reserved and is married to Graham's old friend John, who is now a successful lawyer. John, meanwhile, is sleeping with Cynthia who sleeps with him to get back at her older sister.

As may be clear, this creates some issues, but it really creates some odd healing. This confrontation of their approach to sex and their pasts allows the characters to really confront why they are the way that they are. For Ann, she is able to find herself and figure out why she does not enjoy sex. For Cynthia, it allows her to confront why she hates Ann and work on a worthwhile way of healing that. In the process, of course, it does show a lot about their characters. The sisters fight because they are inherently different and the other cannot accept that difference. It is also clear that Cynthia does a lot of what she does for attention, hinting at the popularity of Ann in school among the boys and, likely, her parents. Thus, it gives her a rush to know she is sleeping with Ann's husband and is better at sex than her. Via the videotapes, however, the women are able to figure this out and identify these issues. At the end, when we see Ann give Cynthia her work number and a gift, it becomes clear that the olive branch is there. Though they talked and had a relationship, they only spoke of each negatively and had terrible conversations on the phone. It is clear that the relationship is fractured and confronting what has made them who they are and driven them apart (sex), allows them to heal and work on the relationship.

This development is incredibly written by Soderbergh who creates a nuanced plot with nuanced characters that really grow throughout the film. For a debut, this is quite the accomplishment, especially with the mature way in which he handles sex. Instead of exploiting it or turning it into simple titillation, he turns it into an act worthy of psycho-therapeutic study. Of course, the strong characters and dialogue are bolstered by good performances in all roles, particularly by James Spader. As the unusual and very open Graham, Spader oozes weird yet comforting. His oddities may be a turn off to those who do not know him, but for that those do, he is an welcome part of their lives.

Incredibly written, directed, and acted, this one is a shockingly assured debut. While imperfect, the film is one that leaves you sitting there and contemplating your life in a weird way, just as the characters here are forced to assess who they are and where they are. In this film, it is an incredibly impactful film that shows Soderbergh's talent in transcending genre and creating intimate and compelling stories no matter the topic.… Expand

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NickTheCritick

Apr 18, 2022

In Baton Rouge (Louisiana), a young rampant lawyer with a frigid wife and sister-in-law as a lover welcomes into his house an old school friend who, equipped with a videotape, undermines the balance of the family.
Acidulous, nice, cute conversational comedy in the context of a chamber cinemaIn Baton Rouge (Louisiana), a young rampant lawyer with a frigid wife and sister-in-law as a lover welcomes into his house an old school friend who, equipped with a videotape, undermines the balance of the family.
Acidulous, nice, cute conversational comedy in the context of a chamber cinema that becomes a reflection on voyeurism and audiovisual media: the video becomes a substitute for the Catholic confessor (or psychoanalyst) and a tool to drop the masks and stimulate new understood. What an impressive debut by Steven Sorerbergh.… Expand

0 of 0 users found this helpful00

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