critic's pickTHE GIRLFRIEND EXPERIENCE directed by Steven Soderbergh, written by Brian Koppelman and David Levien, with Sasha Grey, Chris Santos, Mark Jacobson and Glenn Kenny. A Mongrel Media release. 77 minutes. Opens ­Friday (June 26.) For venues and times, see Movies.
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The Girlfriend Experience
Out-of-body Experience: Porn star Sasha Grey delivers the goods in Soderbergh’s The Girlfriend Experience

Steven Soderbergh has always been an experimental filmmaker. This is the guy who followed his artful debut, sex, lies, and videotape, with a black-and-white fiction about the adventures of Franz Kafka. In black-and-white.

For two decades, he’s shifted back and forth from idiosyncratic puzzle movies like The Underneath, The Limey and Full Frontal to mainstream studio pictures like Erin Brockovich and the Ocean’s trilogy. Out Of Sight and Traffic bridged the gaps gracefully; Solaris and Che, not so much.

The Girlfriend Experience fits squarely in the “experimental” category, both because it’s another venture into the fragmented and cerebral (you have to pay attention to enjoy it) and because Soderbergh’s choice of leading lady puts it firmly outside the mainstream.

For the record, the decision to cast adult-film star Sasha Grey as a Manhattan escort in The Girlfriend Experience does not exactly break new ground. David Cronenberg gave Marilyn Chambers the lead in Rabid over three decades ago. Chambers was even pretty good.

And Grey is just fine. Apart from one clumsy line reading in a voice-over, she’s entirely convincing as a young woman who makes her living by renting herself out to men.

Grey’s character, Chelsea, specializes in “the girlfriend experience,” offering intimacy and intellectual engagement as well as sex. She’ll meet her clients for dinner and a movie, go for a drink afterward, spend the night and even stay for breakfast; the exchange of cash is handled almost offhandedly, a small speed bump in the course of events. And then she goes back to her sleek, stylish apartment, where she lives with her boyfriend, Chris (Chris Santos), a personal trainer at a crossroads in his own career.

Brian Koppelman and David Levien’s cool, considered script uses Chelsea and Chris’s situation – which Soderbergh plays out in parallel, chronologically scrambled threads – to explore the various ways people package and sell themselves.

The more time we spend with Chelsea and Chris, who’s found himself mulling the offer of a weekend trip to Vegas from one of his male clients, the more we become aware of how much compromise and self-deception is required just to get them out of bed in the morning. Whichever bed that happens to be. 

normw@nowtoronto.com 

NOW | June 24-July 1, 2009 | VOL 28 NO 43
Copyright 2010 NOW Communications
Comments
Posted by Ben on 06/25/2009, 10:54 AM
I totally agree that Sasha Grey's character was very convincing as a high-end escort, however, I felt that the movie moved very slowly and the ending was ........... like what the heck!?!?!?

Posted by Lydia on 06/25/2009, 05:57 PM
I disagree with this review. I think its "experimental" aspects - which really only consisted of playing with the timeline - were totally unmotivated and were not executed half as well as his other less-mainstream films. It seemed like they went into production without fully developing the script, then realized they didn't have enough there to make a film (and probably went back and shot more, since there are weird weather inconsistencies), and then tried to save it with some "creative" editing. There are a few good scenes with genuine character development, but overall, I only felt mildly engaged throughout the film. The set up was really good - its the lead up to the 2008 US election, lots of references to Obama and the failing economy - but the film doesn't deliver, and feels MUCH longer than 77 minutes.

Posted by luna on 06/26/2009, 12:13 AM
The street musicians who sing about "everyone's a critic" are Freedom Tickler, who can be found on www.freedomtickler.org and on myspace. Check them out.

Posted by Noelle on 06/26/2009, 08:10 AM
This movie is tedious (and feels waaayyy longer than its 77 minute running time).

I agree with Lydia, who suggests that the film-school "experimental" narration is a thin subterfuge which might con some audience members into thinking that there is something profound here, whereas the story is really just slow, boring, and not very well developed.

As someone who worked in the biz, I have a fascination with how prostitution is portrayed in the movies, but this failed to resonate for me at all and I found it just as frustrating as Pretty Woman, perhaps more so for its annoyingly pretentious tenor.

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