Sex and the City 2

“Sex and the City 2,” the franchise sequel to the 2008 film of the same name, based on the HBO series (1998 – 2004), and which first began with Candace Bushnell’s 1997 novel, picks up the story lines of four familiar characters: Carrie (Sarah Jessica Parker), Charlotte (Kristin Davis), Miranda (Cynthia Nixon) and Samantha (Kim Cattrall).

Since the show first introduced these soul mates over a decade ago, the film banks on a mostly female-driven loyalty, serving up its original success formula: friendship, fashion and fun. The men are back, as well, including Mr. Big (Chris Noth), Steve (David Eigenberg), Harry (Evan Handler), Smith (Jason Lewis) and even Aidan (John Corbett). Michael Patrick King, whose creative stamp was all over the series, returns as writer/director, the same as the first “Sex and the City” big screen outing.

The story picks up in present day New York City, and also, in creative flashbacks sound-tracked by an updated remix of Blondie’s “Rapture,” briefly reflects on how each woman, in her 1980s attire, first arrived on the island. This sets the contrast to who they are today. In 2010, Carrie is a happily married writer to Mr. Big, Charlotte enjoys her traditional stay-at-home wife and mom role, Miranda still holds her professional lawyer position while married to Steve and mom to Brady (Joseph Pupo), and Samantha loves her swinging single status.

This extended family comes together for Stanford’s (Willie Garson) and Anthony’s (Mario Cantone) Connecticut wedding. With Liza Minnelli facilitating the ceremony and serving as the scene-stealing musical act, the tempo kicks off the film’s grandness: everything about “Sex and the City 2” – the attire, dialog, sets and situations – is over the top. And, despite lack of strong plot or three solid acts, it works.

The theatrical wedding leads to conversations of what marriage means. As the film evolves, and reveals a closer look into each woman’s life, the audience learns that Samantha, at 52 and still looking fantastic, is fighting menopause. Miranda’s new boss blocks her from speaking at meetings by lifting his hand every time she opens her mouth. Charlotte’s younger daughter Rose won’t stop crying and, as Mr. Big surprises Carrie with an anniversary gift of a bedroom flatscreen, she panics that the excitement of their relationship may be in jeopardy.

While monthly periodicals pray on these female concerns – children, spouses, careers and aging – the four characters face them, together, sometimes with laughter, sometimes with tears, but always with the unflinching support one would expect from people who share their history and bond. Needing a change, Samantha invites the girls on an all-expense paid trip in Abu Dhabi, the capital of and second largest city in the United Arab Emirates, where’s she’s been challenged to work her public relations magic on a new hotel.

And between the private jet with individual suites, the four white Mercedes waiting for them at the airport and the premier hotel penthouse in a decadent Middle East paradise, complete with personal servants, the best friends suddenly find themselves away from their everyday lives and lured into a magical place, full of mystery and contrast. One on hand, Abu Dhabi spares no expense at luxury – décor, food, drink, fabrics and imagination – while, on the flipside, the New Yorkers notice that most of the native women must uphold strict modesty laws.

The area is portrayed as wanting and craving Western progress, while, simultaneously, preserving the male-driven control over the female population. This theme of a woman’s right to her voice carries through the entire movie.  While on their adventures, the women seem to find what they want, yet, as nothing is what it seems, they eventually begin to long for the familiar and now greener grass, back in Manhattan. But, first, everyone rides a camel; Carrie randomly runs into her ex Aidan, Samantha–sans airport retained vitamins–reverts to hot flashes and, in a private drink, Miranda and Charlotte have a heart-to-heart that had the entire theater applauding. Pointing out the difficulties and the expectations of what it means to be a modern mother and that, sometimes, it can be too overwhelming or maybe just not enough, this stripped-down, minimalist exchange offers the most honest and poignant scene of the film.

Much of “Sex and City 2” visually conjures a lifestyle 90% of the U.S. population can’t afford. The recession is referenced three times, but almost as a nod to the fiscal struggles of the past several years vs. the reality of it. The clothes, shoes and accessories, absolutely breath-taking and, combined, almost its own character, convey a fantasy world that, when in comparison, make Vogue magazine seem financially frugal.

The first film made $400 million. The sequel spent that much on fashion. Not really, but the grandeur unveils itself every five minutes of this 146 minute style seduction. And, with Blondie and Cindy Lauper music book-ending the film and a Madonna reference sandwiched in the middle, the real great ladies of the ’80s, “Sex and City 2” provides what any quality film should: escapism and entertainment.

DIRECTOR: Michael Patrick King SCREENWRITER: Michael Patrick King, Candace Bushnell (book) PRODUCERS: Richard Brener, Toby Emmerich, Marcus Viscidi CAST: Sarah Jessica Parker, Kristin Davis, Cynthia Nixon, Kim Cattrall MPAA RATING: R