Shortbus

Shortbus is not, above all, 'dirty.' What it is, in fact, is a nice movie, one of the nicest to come down the pike since March of the Penguins.

Everything comes to a head in a touchy-feely climax (if you catch our drift) where, ironically, it isn't the strong sex but all the singing and handholding that's the real turn-off.

A gleefully subversive but over-simplistic rude little indie that's starting to gain cult status.

One woman's quest for the perfect orgasm may strike sophisticated viewers as the stuff of sexual farce at best, but Sook-Yin Lee's Sofia brings both emotion and eroticism to the proceedings, and for this Mr. Mitchell should be commended.

It runs out of energy before the end.

What makes Shortbus unusual for an American movie is that it isn't frightened of sex, it doesn't reduce the act to insensitive frat boy gyrations, and it doesn't employ it as a bludgeoning weapon.

It’s a disarmingly sweet movie about dysfunctionality and connection.

the film is just as bold and startling as when it first came out maybe more so, because we have become more puritanical when it comes to depicting sexual situations onscreen, even in indie films.

An exuberant, audacious and deeply poignant film that crosses lines and shatters barriers with exhilaratingly untrammeled glee.