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sex, lies, and videotape
Miramax Films


7.7

based on 17 reviews
Read critic reviews
How did we calculate this?

based on 9 votes
Read user comments
Rate this movie

FILM:

Internet Movie Database

MPAA RATING: R

Starring James Spader, Andie MacDowell, Peter Gallagher, and Laura San Giacomo

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 (Spader), who visits old friend John (Gallager), and engages John's wife (McDowell), and her sister (San Giacomo) in his unique method of overcoming his unusual sexual dysfunction.

GENRE(S):	Drama
WRITTEN BY:	Steven Soderbergh
DIRECTED BY:	Steven Soderbergh
RELEASE DATE:	DVD: September 8, 1998 Video: September 9, 1997 Theatrical: August 4, 1989
RUNNING TIME:	100 minutes, Color
ORIGIN:	USA

The film was nominated for a 1990 Best Original Screenplay Academy Award (Sodergergh) and won the Palme d'Or and the Best Actor award (Spader) at 1989's Cannes Film Festival.

All critic scores are converted to a 100-point scale. If a critic does not indicate a score, we assign a score based on the general impression given by the text of the review. Learn more...

100

Rolling Stone Peter Travers

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

100

San Francisco Chronicle Mick LaSalle

The kind of picture to whip out the clichés for: Surprisingly original. Delightful. Brilliant. Funny as all heck. When 1989 is through, sex, lies, and videotape may well be remembered as the best film of the year. [11 Aug 1989, Daily Datebook, p.E1]

100

Los Angeles Times 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

The New Republic Stanley Kauffmann

Soderbergh is helped enormously by the interplay of his actors, whom he has cast like a master... [He makes] a film that goes past what it shows to disclose what can't be seen. It's a fine achievement. [4 Sept 1989, p.26]

100

The New York Times Caryn James

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

100

Variety Staff (Not Credited)

A sexy, nuanced, beautifully controlled examination of how a quartet of people are defined by their erotic impulses and inhibitions.

100

Time Richard Corliss

What amazes is that at just 26, Soderbergh displays the three qualities associated with mature filmmakers: a unique authorial voice, a spooky camera assurance, and the easy control of ensemble acting. [31 July 1989, p.65]

100

Empire Wendy Bristow

Startling is the fact that a film so light on action and heavy on chat can be so achingly funny without having being crafted by a young Woody Allen.

Washington Post 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.

USA Today 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]

Chicago Sun-Times Roger Ebert

It has more intelligence than heart, and is more clever than enlightening. But it is never boring, and there are moments when it reminds us of how sexy the movies used to be, back in the days when speech was an erogenous zone.

Chicago Reader Jonathan Rosenbaum

Cunningly scripted and acted, and talky in the best sense, the film is engrossing to watch but not especially interesting to ponder afterward; it's certainly an improvement on formulaic Hollywood, but on a thematic level there's still more windup than delivery.

Entertainment Weekly Staff (Not Credited)

Compulsively watchable.

Chicago Tribune Dave Kehr

Sex, lies, and videotape discovers a distinctive, laconic rhythm right from the start, thanks to Soderbergh's taste for holding his shots just a bit longer than conventional, slick editing technique would allow. [11 Aug 1989, Friday, p.A]

TV Guide Staff (Non Credited)

Beautifully edited by Soderbergh, the film is evenly paced, its subtleties accreting slowly, and by the end it gathers powerful emotional momentum.

Washington Post Desson Thomson

The writer in Soderbergh proves the ultimate weak link. In sex, lies' last third, he seems seized with a compulsion to make sense of it all, bring everything to bear, give everyone their moral comeuppance, their screenplay payoff.

Christian Science Monitor 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]

The average user rating for this movie is 7.7 (out of 10) based on 9 User Votes
Note: User votes are NOT included in the Metascore calculation.

Robert R gave it an8:
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—and his relationship to—the Ann protagonist and the two supplementary characters. Through divulging conversations, tentative actions, and foreshadowing cinematography, Steven Soderbergh creates an easily resonant environment that necessitates the viewer’s confrontation with his phobias, analogous to that of Soderbergh’s fiction.

David A. gave it a10:
Very impressive. Even back then, Soderbergh knew how to make awesome movies.

Kevin D. gave it a3:
Boring. Thats pretty much all I have to say. I forced myself through it the first time and won't make myself endure that garbage again. Well acted, well directed, but just plain boring.

Jane A. gave it a 10:
Brilliant. Really wonderful.

Pat C. gave it an 8:
An engrossing & unique project that seems indie in its atmosphere and construction. Like the relationships it decribes, it goes nowhere and with reckless unresistable energy. It's like Woody Allen minus the obsession for closure. It was made back when finding an answer still mattered, but when it was also an accepted alternative to minimize the importance of an answer. The sexual mindset as an expression of will is therefore implicit.

Yoon C. gave it a 2:
Trite, smarmy, and indulgent. A story of people with nothing to do made by a filmmaker who'd do better to do nothing.

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sex, lies, and videotape Miramax Films

sex, lies, and videotape
Miramax Films