I have no clue what happened with the career of Julie Davis after this film. It looks like after having written, directed and acted the principal role in 'Amy's Orgasm' she completely disappeared. This movie cannot be the reason, it's not a masterpiece despite it's great ambitions, but is's not that bad either.
Ambitious it is, with the main character seeming to reflect to a large extent the director's and writer's real life person. Comparison with Woody Allen as some critics made seems however an exaggeration, Davis does not get even close to the self-deprecating humor or deepness of Allen, and her Jewishness is just a pretext without any real holding in the action.
What we are left with is a rather well told romantic comedy about a neurotic but famous writer failing to stand by her women_do_not_need_man_for_happiness standards and falling in for an older radio talk show skirts chaser. There comic quality lies mainly with the situations and especially the secondary characters like the catholic priest confessor and lesbian editor friend. The film advances quite well for about three quarters of its screening time, despite the cheap anti-moralistic tones and the 2 cents relationship touches seemingly borrowed directly from the 'Sex in the City'.
Unfortunately the end spoils much of what is gathered until then. Trying probably to avoid another melodramatic ending with the characters falling in each other arms after a dramatic break-out, the writer Julie Davis pushes the resolution ten plus years later. She achieves nothing and misses the climax.
At least with this ambitious project Julie Davis had to blame but herself for not succeeding to launch a fantastic career which could have happened if the film succeeded. Yet, there are enough good things in the work of writer Julie Davis, actor Julie Davis, and director Julie Davis to wish that any of them or all be back to screens sometimes.
Ambitious it is, with the main character seeming to reflect to a large extent the director's and writer's real life person. Comparison with Woody Allen as some critics made seems however an exaggeration, Davis does not get even close to the self-deprecating humor or deepness of Allen, and her Jewishness is just a pretext without any real holding in the action.
What we are left with is a rather well told romantic comedy about a neurotic but famous writer failing to stand by her women_do_not_need_man_for_happiness standards and falling in for an older radio talk show skirts chaser. There comic quality lies mainly with the situations and especially the secondary characters like the catholic priest confessor and lesbian editor friend. The film advances quite well for about three quarters of its screening time, despite the cheap anti-moralistic tones and the 2 cents relationship touches seemingly borrowed directly from the 'Sex in the City'.
Unfortunately the end spoils much of what is gathered until then. Trying probably to avoid another melodramatic ending with the characters falling in each other arms after a dramatic break-out, the writer Julie Davis pushes the resolution ten plus years later. She achieves nothing and misses the climax.
At least with this ambitious project Julie Davis had to blame but herself for not succeeding to launch a fantastic career which could have happened if the film succeeded. Yet, there are enough good things in the work of writer Julie Davis, actor Julie Davis, and director Julie Davis to wish that any of them or all be back to screens sometimes.