Speaking of Sex

There is a useful directness to Speaking of Sex, a comedy shaped by John McNaughton with a firm understanding of its audience. In Speaking of Sex, James Spader provides the anchor while Melora Walters introduces a contrasting energy. Without revealing later complications, Speaking of Sex opens from this situation: A female marriage counselor and a male depression expert try to solve the marital problems of a troubled couple. The resulting its 1h 36m running time feels most convincing whenever Speaking of Sex trusts behaviour more than explanation.

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What keeps Speaking of Sex emotionally readable is James Spader, whose choices establish a consistent point of view. In scenes with Melora Walters, Speaking of Sex gains tension from two performers refusing to produce the same kind of energy. Jay Mohr contributes a separate rhythm to Speaking of Sex and helps the supporting material feel less purely functional. The direction by John McNaughton gives the cast of Speaking of Sex room to connect the quieter beats with the larger ones.

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Speaking of Sex finds additional purpose in its examination of embarrassment, status and the gap between confidence and reality. Through the performance of James Spader, Speaking of Sex makes that examination feel personal before it becomes broadly symbolic. The idea of the central character repeatedly returns Speaking of Sex to the cost behind its more visible developments. John McNaughton is most persuasive when Speaking of Sex allows the theme to emerge from an uncomfortable choice rather than polished dialogue.

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The craft of Speaking of Sex is defined by comic timing built around character, supported by comic timing built around character rather than overwhelmed by decoration. Canal+ gives Speaking of Sex a production framework in which well judged reactions can remain connected to story. Made from a Canada production context, Speaking of Sex uses setting and design to clarify mood before dialogue has to explain it. The technical finish of Speaking of Sex works because image, sound and editing appear to be serving the same immediate purpose.

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John McNaughton gives Speaking of Sex a directorial line that is alive in individual scenes and uncertain between them from its opening promise to its final movement. The staging of Speaking of Sex is strongest when John McNaughton allows motivation to determine pace instead of reversing that priority. Viewed as a complete piece, Speaking of Sex confirms that the cast and craft keep the experience watchable across most of the running time. A tighter version of Speaking of Sex would address how too many scenes explain effects the actors have already suggested, yet the surrounding work remains persuasive.

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The plot of Speaking of Sex is built around the uneasy relationship between the central character and an important relationship. For James Spader, that relationship gives Speaking of Sex an emotional objective stronger than simple forward motion. The screenplay associated with Gary Tieche lets a difficult choice reshape the direction of Speaking of Sex in stages. Although the treatment of the wider conflict could be sharper, Speaking of Sex never entirely loses the thread established at the beginning.

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For comedy fans who respond to personality and timing, Speaking of Sex is ultimately an uneven film with enough personality to remain interesting. Its most persuasive combination in Speaking of Sex brings James Spader together with well judged reactions under the direction of John McNaughton. The fact that too many scenes explain effects the actors have already suggested prevents Speaking of Sex from being entirely seamless. Even with that reservation, Speaking of Sex has a clear point of view and enough genuine feeling to justify the journey.