^In essence, it’s a two hour reflection on the intricacies of the above chart. Polanski keeps to his niche of passionate oddity put to film. An immaculate introspection on the intensity of intimacy.
What could just be dismissed as an x-rated episode of “The Love Boat” has so much under the surface to explore for those willing. As erotic thrillers go, this has a much stronger delivery, in my opinion, than the likes of “Fatal Attraction” and “Eyes Wide Shut.” They all dance on the same floor, but this one is the definite belle of the ball. Perhaps it’s Polanski’s touch for the eccentric, added to by the fact that he ended up marrying Emmanuelle Seigner, who is electric in her performance as the minx muse Mimi. The heat of the passion shared between the main couple is only topped by the intensity of the revenge enacted in the final act.
The film spends the entire runtime ruminating on the razor’s edge of the results of such powerful passion… both the beauty and the dread. Only such a strong affection could lead to such affliction as this rose blossoms and then withers on the vine in the most violent of fashions.
It’s a cinematographic representation of the frog in the boiling water. If that frog was also tapping his watch and asking for this whole thing to hurry up and be done with. It felt every second of its hour and forty five minute runtime. Willem Dafoe does his damndest to save this thing, and does cement himself as the master of “slowly slipping into madness” guy, but even he can’t save this from itself. Art heist gone wrong movie turns into silver screen serpent eating its own tail in search of a deeper meaning.
So… it’s a Hitchcock ripoff… kind of. A valiant effort. The ending shot was straight out of “Psycho.”
The twists you can see coming from a mile away. Overall, it frustrated me. It wasn’t that it was poorly executed in a technical sense. The shots are beautiful and there is some good tension building. And holy shit is Noah Schnapp creepy. But the story was too predictable for it to have its fullest impact. So, a few bright spots, but overall letdown.
Seemed very “Fatal Attraction,” but the genre wasn’t quite as refined yet.
He’s just a gigolo, and everywhere he goes… apparently people are trying to frame him for murder. Luckily, he’s also close friends with some of his clients, and in the world of underground crimes, it’s all about who you know.
A solid crime thriller with way more Richard Gere than I ever expected to see. At least he tries to not look as guilty as Ben Affleck in “Gone Girl.” A for effort.
Another recommendation of the “Video Archives” podcast with Quentin Tarantino and Roger Avary. Lived up to the hype. The show continues to be a staple in my weekly listening rotation and leads me down some interesting cinematic rabbit holes such as this. A welcomed reprieve from the predictability that can run rampant in todays cinematic releases from time to time.
It’s a very strange film, and takes a while to get going, but once it gets where it’s going… holy crap.
Content warning: not for the faint of heart and beware to those sensitive to sexual assault.
The relationship between the main couple is so tenuous that it takes a while for the viewer to gain their bearing with what’s really going on between the pair. There’s so much subtextual happening the entire runtime that it keeps you in a state of fight or flight from beginning to end. The only clue that comes full circle is the bear trap. You don’t keep a fully operational bear trap on your wall just because…