A consistently intelligent (or at least bright), coherently constructed comedy that is on occasion a rather pointed critique of the American education system in the…
"Body Shots" suffers from a fatal misapprehension. It thinks it is about date rape, when actually it is about alcoholism. That's why the ending is inconclusive and unsatisfactory; not only does it fail to find answers--but they would be to the wrong questions.
The movie is about dating values and practices among affluent young professionals in Los Angeles. Some scenes are played straight to the camera, as if the characters are in a documentary. The girls as well as the guys are mostly looking for sex, and a "meaningful relationship" would be an unexpected bonus. The facile dialogue can't disguise the shallowness, but why should these characters have original thoughts about sex when nothing else in their lives is carefully examined? Separate groups of men and women end up at the same bar, go on to another club, and split up. A pro football hero named Michael (Jerry O'Connell) ends up with a cute blond named Sara (Tara Reid). They are both drunk. She pays for the $25 cab ride to her place on the beach near Santa Monica. They make out on the beach, go inside and have sex. He says it was consensual, that she hit her head on the bed, and got mad at her when he forgot her name. She says it was rape.
Each character is talked to urgently and privately by friends. Rick (Sean Patrick Flanery) quizzes the defiant and angry Michael, who is sure Sara was coming on to him and wanted sex, but cannot remember exactly what happened in her apartment. Jane (Amanda Peet) questions Sara, who also does not remember, although she has given the police a complete account of the rape. "Do you ever have blackouts?" another friend, Whitney (Emily Procter) asks her. Sara says no. Whitney reminds Sara of a couple of dramatic blackouts all her friends witnessed. Of course, by definition you cannot remember a blackout (this is the Heineken Uncertainty Principle).
As the movie dribbles to its inconclusive conclusion, we are left with the notion that in this case date rape may be in the mind of the beholder. Men see things one way, women another. Both Sara and Michael make persuasive arguments for their versions of events, while the film, which takes no sides, carefully presents both versions of the sexual encounter.