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.

Since De Palma directed the debacle that was Mission Impossible, it seemed like a genius director has lost it all but this latest movie by the "new Hitchcock" is perhaps one of his strongest since "Carlito's Way" and the masterpiece "Body Double". The story itself is quite simple : during the filmfestival of Cannes is a bunch of diamonds stolen but then the fun begins...you really have to be attentive during the whole movie as every minute De Palma puts you on a wrong foot just like we're used to by the master of the black thrillers... An absolute must!!!!

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 made a return to the thriller genre in which he made his name after the gigantic blip that was Mission to Mars, which he suffered two years earlier. But is his return to the genre a hit or another misfire? Neither, actually; it's decent.

The plot follows the escapades of a young lady that screws the mob out of a heist of diamonds, stolen during a thrillingly executed heist at the Cannes film festival. After assuming a new identity, she later returns to Paris where she must evade her past by any means necessary.

Brian De Palma obviously has a talent for filmmaking; this is evident in the majority of his works, particularly the earlier ones. It's not as abundant in this film as it is in some of his others, but that flair is still shown to a certain extent. He does, however, seem to spend a lot of the movie piling on the style, when he would have been better served building character and giving the audience something to care about. Anyone that knows De Palma, knows that he is the man that "does Hitchcock". Here, he doesn't tribute Hitchcock, but rather the melodramatic noir thrillers of the 40's and 50's. This is clearly shown at the start of the movie from the shot where Rebecca Romijn Stamos is sat on a bed, watching the classic noir; Double Indemnity.

Having only seen Stamos previously under heavy make-up in the delicious X-Men films, it was nice to see her here in a 'normal' role, especially as I was one of the people that saw her sex appeal, even under all that attire. De Palma teases the viewer with her at first; he keeps her face hidden behind various objects and camera movements, but when she finally appears; she doesn't disappoint; Rebecca is one beautiful woman. Especially when she dons that brown wig. Starring alongside Stamos, is Antonio Banderas. I like Antonio a lot; I rate him as an actor, and not just for his role in the spectacular Desperado series. However, he isn't at his best in this film. In a role that requires him to don a silly gay accent at certain points, Banderas doesn't quite look at home. Maybe it's just because I'm used to seeing him flying round shooting bad guys, but he struck me as being a little bored.

It may or may not be a good thing that the film is done partly in French, as on one hand it makes it more realistic, and firmly places us in France; but on the other, we have to read subtitles in an American film, and when I watch an American film; I'm not expecting to read subtitles. Especially not ones that disappear before you have a chance to read them fully, as they often do here. Another thing about Femme Fatale is that it never manages to be as sexy as it pretends to be. Despite making almost full use of the lead's assets, it is ultimately more tease than strip. This could be seen as a nod to the classics to which the film owes itself, but for a film that states itself as being a 'steamy thriller', I was expecting slightly more steam.

The film boils down a final and surprising twist. Throughout, the film keeps you guessing, despite being largely hinged on coincidence; and the twist does come as a surprise, but it is that awful, clichéd twist that everyone dreads. However, to De Palma's credit; he does almost make it good. To pull off a twist like the one in this film, the storyteller needs to be talented enough to not make the audience demand their money back when the movie finishes. When the twist first hit, my eyes were starting to role but credit has to be given to De Palma because even though the twist he's working with is silly, he manages to bring the film to a close which wraps it up, and does tie all the loose ends together. And although I'm still not sure if that was the right route for the film to take, it is well done.

Overall, Femme Fatale is an enjoyable thriller that is bound to keep most audience members on the edge of their seats throughout. It doesn't echo the brilliance of Dressed to Kill, Carrie, Sisters or most of De Palma's earlier oeuvre in the thriller genre; but it is the best film that the man has made since The Untouchables, and is therefore recommended.

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.