Fait Accompli

Fait Accompli or (Voodoo Dawn) depending on where you live in the world, is a much under valued dark thriller starring an excellent cast for 1998. Michael Madsen, Balthazar Getty, James Russo and the ever excellent Rosanna Arquette star in a brooding, dark and mysterious thriller that in its better moments recalls Alan Parkers 1987 classic 'Angel Heart'. Madsen has a natural charisma that holds the attention whenever he's on screen, and Getty's intensity coupled with Arquette's quirkiness makes for an intoxicating viewing set amongst the swampy voodoo driven plot. Worth seeking out on DVD.

As previous comments have noted, this has hints that it could have been a serious, superior thriller, what with the talented cast and some quite good writing in-the-small. But the story lines never really cohere and it finally makes no real impact.

This movie was lost in its own voodoo curse. The script made no sense. Actors were given long emotional speeches to which no one else on the screen responded to or gave any hint of listening. They just seemed to be waiting their turn. Scenes bounced around without any rhyme or reason. Characters took actions with as much thought as a zombee. I started the movie because I hadn't heard of it and it featured a talented cast. I finished the movie only to see if I could find one redeeming quality. There was none.

I don't know what to say about this film, I realy like "Michael Madsen" as an actor but this film dident seem to go anywhere, but I still enjoyed it, but only watch it if your a "Madsen" fan otherwize you mite want to give it the flick.

6 and a half/10

This film is the first directorial effort of Andrzej Sekula, an excellent cinematographer (AMERICAN PSYCHO, OLEANNA, PULP FICTION, RESERVOIR DOGS), but it is difficult to determine what his aim might be in this instance. The viewer is greeted by an indecipherable script, marred by a surfeit of sub-plots. There are fine players in the cast: Rosanna Arquette, Michael Madsen, James Russo; these all require aggressive direction, which is lacking (Russo's performance is particularly embarrassing). Sekula works behind the camera, and virtually each scene features creativity and interesting lighting, all of a piece with his other work. It would seem, however, that his skills are best applied as a contributor to other directors' (Mamet, Tarantino) achievements. This work is an expression of nothing.