And although I'm still not sure if that was the right route for the film to take, it is well done. 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.
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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. However, to De Palma's credit he does almost make it good. 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. The film boils down a final and surprising twist. 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.
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Despite making almost full use of the lead's assets, it is ultimately more tease than strip. Another thing about Femme Fatale is that it never manages to be as sexy as it pretends to be. Especially not ones that disappear before you have a chance to read them fully, as they often do here.
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. 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.
In a role that requires him to don a silly gay accent at certain points, Banderas doesn't quite look at home. However, he isn't at his best in this film. I like Antonio a lot I rate him as an actor, and not just for his role in the spectacular Desperado series. Starring alongside Stamos, is Antonio Banderas. 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. 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. 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. Here, he doesn't tribute Hitchcock, but rather the melodramatic noir thrillers of the 40's and 50's. Anyone that knows De Palma, knows that he is the man that "does Hitchcock". 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. 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. Brian De Palma obviously has a talent for filmmaking this is evident in the majority of his works, particularly the earlier ones. After assuming a new identity, she later returns to Paris where she must evade her past by any means necessary. 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. But is his return to the genre a hit or another misfire? Neither, actually it's decent. 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.
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