Femme fatale

As I've always supported Brain's work, I guess I'm not very objective in my opinion. This film is a kind of "best of" of this brilliant director. The fans or the people who loves a certain kind of formal achievement can be hooked by this movie. But the others... The screenplay is the real wickness of this movie: too many non-senses can "hurt" most of the audiance (at the end, I've also heard some laughts!). Even for me, I've sometimes had hard-time because the story seems to have no logical ("why did she do this?" "and him, why is he there?", etc...) But when you see the Key of the movie, I mean the real theme, you can accept most of the things you've seen. Or not... Forget the screenplay and watch! That's the only way to appreciate this movie.

A director of this caliber should have done better. Nice idea but the devices used in this film were far too obvious. One saving grace of the film is that the female lead is truely smoking hot and does a nice job of acting the role, but the mechanics of putting the movie together felt too much like a film school project (clearly an "A" but still a project). Overall, worthwhile but a little disappointing given the potential here.

This was one of the best films of 2002. It belongs in the class of films that came out in 2001, like Memento, Donnie Darko, Vanilla Sky and Mulholland Drive. Those where all films that require the viewer to participate, use their brain and have a good time.

Brian De Palma is a master filmmaker. One that has been manipulating audiences for over the last 30 years. The opening of this film is brilliant, with nearly 25 minutes of no dialogue scenes. Yes, there are lines given off here and there as the jewel heist is prepared and executed(it is cool that the heist is the opener and not the climax of this story), but really it is like watching a silent film. The attention to detail in the opening and all through out is what makes the film great, you will watch this over and over and catch something new on each viewing.

Some have argued that De Palma is not an autuer, but indeed he is. He has his trademark long one takes, with the camera gliding around to create a universe that is almost real but still we are aware we are watching fiction. There is the common theme of duel perceptions and persona's burning bright in this film, much like in Carrie, Dressed to Kill and Blow out. That theme is best illistrated by his use of split screen. Also the slow motion is used to perfection here at critical times, unlike Micheal Bay who uses it to make things look pretty.

This is a great film, yes, it takes some suspension of disbelief but that is why its a movie. If its your first De Palma venture you should check out his older thrillers, like Body Double and Blow out. He is a great movie maker that has influenced todays greats like David Fincher, Quinten Tarantino, Richard Kelly and P.T. Anderson in one way or another.

Brian De Palma's 'Femme Fatale' is pure movie-making. In fact, it is done so well you almost forget it is all close to nonsense. But who cares, 'Femme Fatale' is an exercise in style drenched in twists and turns. Instead of cheating De Palma gives us a lot of little hints, easily missed the first time you see it. Explaining the story could ruin a lot and is probably useless anyway.

I can tell the film opens with a heist, probably one of the most erotic ones out there. Laure Ash (Rebecca Romijn-Stamos) is the one who goes away with a very expensive artifact betraying a whole lot of people. This event is what drives her the rest of the movie, but in what way I can not reveal. I can say that we move forward to seven years later and that Laure has changed her identity, more by mistake than on purpose. Another important thing I can tell you is that we meet a photographer named Nicolas Bardo (Antonio Banderas). He takes a picture of Laure while she is still Laure and he is the one who takes a picture of her seven years later, a photo that could spoil everything for her.

I should stop talking about the story. You have to see it for yourself, collecting clues and try to make something out of it. I love a movie like this. 'Memento', 'Mulholland Dr.' and 'Donnie Darko' are other examples. Maybe you can figure them out, if that is the filmmakers intention, maybe you can not. But it is not so much the conclusion I enjoy, it is the ride that brings us there. De Palma does it in a terrific way with a lot of love for the movies.

FEMME FATALE (2002) * Rebecca Romijn-Stamos, Antonio Banderas, Peter Coyote, Ariq Ebouaney, Edouard Montoute, Rie Rasmussen, Thierry Fremont, Gregg Henry. Filmmaker Brian DePalma once again goes to the Hitchcockian well one time too often in this dreadfully listless and incredibly pedestrian ‘thriller' about a bad French girl (Romijn-Stamos doing a killer Sharon Stone cum Grace Kelly turn) whose identity as a criminal threatens to be usurped when she attempts a change in life by marrying a wealthy American diplomat and photographer Banderas (in one of his worst displays of acting) as the patsy she becomes embroiled with involving murder, blackmail and mistaken identity. Too much of a thinly veiled attempt by DePalma to breathe fresh life into a long-gone corpse: the erotic mystery via travelogue despite his pulling out all the stops (vertigo inducing cinematography, split-screens, etc.) that he has been notorious for. Boring and tedious in its theatricality; a real shame from a master auteur.