Provocative title notwithstanding, there's nothing shocking about this loose sequel to SEX, LIES, AND VIDEOTAPE (1989), the film that put writer-director Steven Soderbergh on the map. Loose, shot on the fly and so crammed with in-jokes that the minimal plot is in constant danger of getting lost behind them, this Altman-esque ensemble piece follows eight lonely people whose paths cross and nearly cross over in the course of one long, emotion-filled day. Bitch-on-wheels HR administrator Lee (Catherine Keener) is married to milquetoast magazine writer Carl (David Hyde Pierce); she's got a long day of firing ahead of her and plans to leave the clueless Carl that night. He in turn gets the unexpected heave-ho at work, and comes home to find his dog deathly ill from having eaten a plate of hash brownies. Lee's sad-sack sister, massage therapist Linda (Mary McCormack), is planning a weekend date with "Ed," the man she met online. But Ed is really Arty (Enrico Colantoni), a theater director overwhelmed by the temperamental star (Nicky Katt) of his new play, "The Sound and the Fuhrer," and worried that his dream girl will decamp when she realizes he's been misrepresenting himself. Major movie stars Francesca (Julia Roberts) and Calvin (Blair Underwood) are making a picture called "Rendezvous," a romance in which she plays a journalist and he plays a TV star who's just landed his first major movie role, playing opposite Brad Pitt (playing himself) in a formulaic buddy-cop movie. Gus (David Duchovny), the producer of "Rendezvous," is throwing himself a rooftop birthday party and everyone who's anyone in L.A. is trying to score an invitation. Gus is also Linda's afternoon appointment, and makes her a sleazy but tempting offer. Much of the film's action takes place in and around the L'Hermitage hotel: Gus is a guest and his birthday party is being held there; Lee and Linda meet in the hotel's restaurant for lunch; and Lee has her own rendezvous upstairs with Calvin. Soderbergh conceived this project as an antidote to the mega-bucks pressures of OCEAN'S ELEVEN (2001); he formulated a series of Dogme-like rules, acquired a dialogue-driven script by playwright Coleman Hough, recruited a high-profile cast who agreed to work for scale and shot most of the film on digital video, with the exception of the 35mm film-within-the-film footage of "Rendezvous." The behind-the-scenes story is fascinating; unfortunately, it's actually more interesting than the film itself. Though some individual scenes crackle, overall the film feels unfocussed and flabby, like a series of acting improv exercises strung together. --Maitland McDonagh
