waylonsmithers9

In spite of all the references to various Hollywood "women's films," I thought that the most inspired in-joke was having Angela (Charles Busch) and Lance (Stark

Sands) speak to each other in a secret language, much to the annoyance of

Edith (Natasha Lyonne). Lyonne fans will recall that her character in SLUMS

OF BEVERLY HILLS had a secret language that she shared with Marisa

Tomei's character.

Overall, I thought this was an okay film. As a fan of the kinds of films that provided the inspiration, I enjoyed the various in-jokes and references.

However, I felt that the cinematography could have been more stylized, with

deeply saturated colors. Oddly enough, a deleted scene that appears on the

DVD looks more like a 1950s Technicolor melodrama than the film itself. As for Charles Busch, he looked too much like a man in drag for my tastes. While his masculine appearance did add to the humor (particularly when another

character commented on Angela's beauty), at the same time, I found it

distracting, especially in his close-ups. Perhaps the cinematographer could

have used soft-focus for the close-ups, thus mimicking the techniques of those who photographed all those aging actress horror films of the 1960s, not to

mention the Lucille Ball version of MAME.

In any event, this was a fun film for those who understand the genre, although I would not go so far as to call it a classic, camp or otherwise.

Meredith Baxter gives a superb performance in this film and its sequel. She captures the cold narcissism of Betty Broderick and manages to play scenes of rage in a surprisingly subtle manner. For example, in the scene in which Betty trashes her ex-husband's house, Meredith approaches the destruction with great nonchalance, which is ultimately more frightening than if she had played it full-on. She taps into the smugness and sense of entitlement that were strong components of Betty Broderick's personality and allowed her to murder two people in cold blood.

The original STEPFORD WIVES was a creepy movie with subtle touches of humor. That subtlety allowed the suspense and the sense of danger to build slowly, leading up to a rather disturbing finale. In this version, there is no subtlety or building up. Rather, the tone shifts are as jarring as jump cuts. It's a satire! It's a "campy" comedy! It's a suspense thriller! Look out! Here comes a happy ending! Not to mention the inconsistencies regarding the "Stepfordization" of the wives (discussed in other user comments). It's as if Frank Oz and company threw a bunch of unrelated scenes together and hoped no one would notice.

As for the cast, it's a disappointment to see such interesting actors and actresses assembled in such a weak film. Blame Paul Rudnick, whose campy-queeny- faggy humor is really wearing thin. (And I can write that because I'm gay!)

Didn't Bette Midler learn her lesson after ISN'T SHE GREAT????

I encourage everyone out there to run to the video store and rent the original.