La mort vous va si bien

There is so much greatness in this unexpected Hollywood comedy that the cheap shots are really cheap and, quite frankly, unbearable. Buried somewhere between the special effects (extraordinary by the way) is one the wittiest satires to come out of Hollywood in many, many moons. Meryl Streep is sensational and Bruce Willis is, I swear, unrecognizable in the best possible way. The movie hits the highest moments when, for instance, Meryl asks Isabella Rossellini how much the magic potion costs and Isabella replays: "Oh the sordid topic of coin" sublime, exquisite, funny but with enormous regard for its audience. But when Bruce calls Goldie Hawn to explain the "incident" at home he goes through a TV style monologue that seems to belong to a sit-com and not to the elegant vulgarity of this three sad, magnificent wannabees. The dialog, for the most part, is the best in any American serious comedy since Billy Wilder. The structure of the script is flawless and inventive. The costumes are atrocious and certain scenes seem directed by a 3rd assistant. I don't know how to explain it. However, I have it, I own it and sometimes I put it on with my finger in the fast forward. What's good is so good that makes the whole thing really worth it.

Fun little flick - for sure Death Becomes Her is not made for everyone, but well, if that mix of macabre horror fantasy comedy and whatever hits you, you will be well entertained. On top, we get a fine cast. Recommended, if you like such movies as The Witches of Eastwick, Beetlejuice, Edward Scissorhands, Dark Shadows and the like.

An enjoyable dark comedy mocking Hollywood's obsession with youth and their adamant belief in "lasting" vanity achieved through plastic surgery. The three leads are all superb and have a believable love/hate on-screen rapport. The visual effects (both digital and practical) still hold up very well to this day; Robert Zemeckis films never falter in this department. Side note: Bruce Willis is such a cutie in this film; he acts quite well in an against type role playing a high-strung, alcoholic plastic surgeon/mortuary cosmetologist. Death Becomes Her is a wickedly awesome viewing experience. Highly recommended if you like satirical dark comedies and '90s films.

When a woman learns of an immortality treatment, she sees it as a way to outdo her long-time rival.

This film was intended to be a sequel to the "Tales From the Script" television show, and although the TFTC name is not attached, you still get a strong sense of the humor we have come to expect. David Koepp and Martin Donovan (who last worked together on "Apartment Zero") had intended to write a few short films, like an anthology, but this story just grew... and Robert Zemeckis added his own brand of humor, with the dark side of Hollywood bubbling to the surface.

Along with Zemeckis comes some of his associates. That includes Dean Cundey, the cinematographer who started on low budget horror, then made John Carpenter's work look great, before moving on to the high-profile films of Zemeckis. And also producer Steve Starkey, who came up from the "Star Wars" films. Zemeckis is sort of the lesser-celebrated member of a triumvirate with George Lucas and Steven Spielberg, but perhaps he should in many ways be more celebrated... his range and aesthetic are impressive.

There is no denying Robert Zemeckis is really a master of genre. He takes what could be a niche and makes it mainstream. "Back to the Future" is loved by all, not just science fiction nerds. And "Death Becomes Her" could have been horror, but with Zemeckis at the helm it was more mainstream, and is now classified as "fantasy / comedy" -- not even horror at all, despite the themes!

Although Meryl Streep was great (as always), she has said that it "was like being at the dentist" having to work in such a way to accommodate the special effects. She vowed never to work in such a film again, and for the most part I think she has stayed true to this vow. Which brings up an interesting divide between the actors of Streep's level (constant Oscar nominees) and those who appear in genre films again and again. Maybe Oscar acting is not better, but merely employs a different skill set?

Speaking of Oscars, "Death Becomes Her" won the Academy Award for Visual Effects. That is so well-deserved. Anyone who watches this film should be impressed by what they were able to do. Why is it that today (2016) we spend millions of dollars to make things look like animation, but already in 1992 they had perfected a way of making it look like heads were falling off and holes were being blown through people? We are regressing!

Scream Factory comes through with a Collector's Edition blu-ray. Although the features on the disc are a bit scant for a collector's edition, they were able to put together a series of interviews to make a retrospective. Streep and Goldie Hawn did not participate (not surprisingly), but Zemeckis did, which is really quite a coup. And David Koepp! And legendary cinematographer Dean Cundey, who had come with Zemeckis from "Back to Future"! Fans of the film who want to know a bit more about what went into this picture are strongly encouraged to pick it up.

And the award for the snarkiest woman in history goes to: Meryl Streep! This movie proves that Meryl knows how to play a snarky woman better than almost anyone else. In fact, 80% of this movie is Meryl and Goldie Hawn verbally abusing and emasculating their co-star Bruce Willis. Not a bad plot, honestly.

The other 20% of the film are special effects that stretch and disfigure human bodies in just about every configuration imaginable, the caveat being that the bodies are of people that are still alive and speaking. It sounds grotesque, and at times I was wincing, but overall it was pretty cool to see what they could accomplish.

I'd say that Meryl bitching is delightful at first, but verges on grating by the end. And once you've seen a couple variations of a disfigured body even that can get sort of redundant.

This is a campy horror flick, so I suppose the point was to make it as over-the-top as they could, and I think they managed to do that and then some. Going into this I thought, "oh, this is a standard story about two women fighting over a man! I've seen this type of thing before!". But really, the first thirty-some minutes feel like a complete separate movie from the remainder of it.

It quickly becomes apparent that what you thought this was going in isn't what this is at all. Actually, it's completely different and unexpected and the sheer weirdness of this flick earns it some points.

I was hoping for an alternate ending in which Ernest exposes the society of immortals to the public and a mass media witch hunt ensues, but the actual ending isn't that bad and works well too.