Movies that are slightly off.
Nothing is more desirable or more deadly than a woman with a secret.
A woman tries to straighten out her life, even as her past as a con-woman comes back to haunt her.
A horny whirlpool of twinned, mirrored, repeated images, never abandoning the audience's perspective but meticulously constructed to meddle with it. A less defensive extension of a lot of what BODY DOUBLE was up to. As De Palma films go this is practically a tonic.
C'mon, Nicolas. You don't have to lick my ass. Just fuck me!
A staggering achievement of beauty that is without a doubt one of the best films ever made.
Depending on how you look at it, Femme Fatale is either Brian De Palma’s purest Hitchcock tribute or his most lurid, ludicrous Hitchcock parody. Devoid of anything resembling narrative or dialogue, it opens with an extraordinary, forty-minute set piece that takes place at the heart of the 2001 Cannes Film Festival, and proceeds more or less as a series of subsidiary set pieces, most of them revolving around a paparazzo, played by Antonio Banderas, and a woman anxious to protect her identity, played by Rebecca Romijn-Stamos. Most of it is set in Paris, and the European backdrop often recalls Obsession, De Palma’s other purest exercise in Hitchcockian style. Beyond that, it’s hard to describe, except to say that without anything…
*starts watching femme fatale*
SEVEN YEARS LATER
Hmm...this movie is long.
I still can't decide if this is one of the best or worst films I've seen. It's brilliant either way. Can't wait for Passion. Rebecca Romijn can't act but this film is all about De Palma.
u can see bdp's love for silly, likable goofs like nancy allen & melanie griffith influenced him casting romijn-stamo$ as an icy nikita/catherine trammel type but it never really works outside of the (((!O!!O!))) cannes heist. its still never ever dull & 800000x better than that piece of shit black dahlia movie
A juiced up version of the heist from Mission: Impossible, an impressively timely riff on Mulholland Drive (accidental or not), some great Barbara Stanwyck action, and a mega happy ending that we maybe shouldn’t trust. I had my doubts, but the twist totally won me over. Probably one of De Palma’s great works. I saw Passion first and I’ve got to take that one down a peg now — he sort of tried the same thing but the cast in that movie wasn’t nearly as game.
Sistematicamente concebido e montado sobre uma noção de duplicidade, Femme fatale é um jogo de dualidades. Um jogo entre o que se vê e o que realmente é visto, entre o que se esconde e o que se mostra, entre o farsesco e o real. É Brian De Palma montando, dentro de um exploitation thriller, um laboratório fílmico, o qual cada cena parece apresentar uma reflexão diferente sobre o próprio cinema e o cinema, em geral.
De Palma sendo o ''herdeiro'' do Hitchcock, se distingue completamente desse em um ponto fundamental no que diz respeito a construção de mistério. Enquanto Hitchcock manipula toda informação que chega ao espectador, apurando o que se oculta e o que se expõe, ocultando a…
De Palma, not one for subtlety, opens his movie with a long take of Double Indemnity being broadcasted on a tube TV. While the camera slowly pushes back, we see Rebecca Romijn's reflection gazing at Barbara Stanwyck, the prototypical femme fatale, betraying Fred MacMurray. She shoots him and the title appears onscreen. Given the events that follow, Romijn is clearly taking notes. This is immediately followed by an absurdly cool 20-minute heist sequence that betters everything from De Palma's own Mission: Impossible save for the iconic Langley setpiece. It helps that it takes place at the Cannes Film Festival and this played out of competition there in 2002. Talk about a meta thrill. De Palma always seems to be having…
A promising thriller that never quite lives up to its potential. Rebecca Romijin delivers a very good performance. The "twist" ending is farcical and plays into some serious hetero-normative politics. De Palma's stylistic trademarks (aka. Hitchcock, Argento, etc.) are all on display here. Sadly there's just nothing inspiring under the surface.
A crossover between "Basic instinct" and "Sliding doors" (won't quote the "Film Rouge" or "The double life of Veronica" by Kieslowsky cause it would be really too much), showing some great pieces of cinematography and a good rithm during the first half. Think anyway that if the meaning is "do the right thing", well, it's really too poor, or at least it wouldn't need all that stuff. Just some questions: how the hell did Lily go back to her blond hair after dyeing it brown? And if it was a wig, as I first thought, how the hell did it resist the crash? What had become of the jewels within the "first take"? Why did the partner wait for the other quitting the jail to have a talk with Lily's girlfriend? Don't want to be a stickler for details, but in a puzzle-movie like this I think they matter.
I'm not sure whether I loved this or hated it. I know it's a complete mess in just about every quantifiable way.
Somehow I don't mind.
The DePalma film that perfectly encapsulates my shaky relationship with him. Hated the opening 30 (Romijn's reflection on the TV is a nice touch, but man, don't greet us with Double Indemnity in the first *frame*), loved the next 45, didn't care for the final 40. It's him in a nutshell, really: inconsistent, tacky as hell, occasionally brilliant.
De Palma is best when he's doing a sleazy Hitchcock impression. This is that, and a good version of it too. It's not without a couple of regrettable scenes, but it's very satisfying and entirely entertaining.
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…
Movies about/starring women. I originally started this list just as a reference for myself, but hopefully others will find it…