Fatal Attraction Pt 1: Everything AND the Kitchen Sink

Three-Part Mini-Series
Every once in a blue moon we'll take a movie and baton pass it around the team and really dive in. This time Nathaniel's going solo. But if you like this approach to investigate a movie we've gone long and deep before on the following films: Rebecca (1940), West Side Story (1961), Who's Afraid of Virginia Woolf (1966), Rosemary's Baby (1968), Cabaret (1972), Silence of the Lambs (1991), Thelma & Louise (1991), Aladdin (1992), and  A League of Their Own (1992) -Editor

by Nathaniel R

Did you know/remember that Fatal Attraction was released in Paramount's 75th year? I did not but it's a detail that feels somehow right. Founded in 1912, the second oldest of Hollywood's few surviving major studios (Universal predates it) celebrated its diamond anniversary in zeitgeist style with one of its all time most profitable and leggiest hits. The Adrian Lyne thriller, which we'll discuss in three installments, was the second highest grossing film of 1987 and left the kind of cultural footprint that most movies can only dream of; it kept people talking for months on end, it ignited Hollywood's late eighties /early nineties erotic thriller craze, it made Glenn Close into a superstar by casting her against type (this detail is mostly forgotten but we'll get there), indirectly helped Michael Douglas win his Wall Street Best Actor Oscar, and took a B genre film all the way to the Oscars with six nominations.

While box office success and Oscar success (objective, mostly) has never automatically correlated with quality (subjective, mostly), you did once-upon-a-time have a much greater chance of the former by doubling down on latter. Which is just what Fatal Attraction did. All these years later, it really holds up as an example of Hollywood making grade A art with a B genre. So let's see why in scene-by-scene form...

Click to read more ...

Ellen Mirojnick: From "Fatal Attraction" to "Oppenheimer"

by Cláudio Alves

There is little heroic about J. Robert Oppenheimer, whether in real life or on the big screen. Yet, in Christopher Nolan's latest, the commonplace act of getting dressed for the day is treated with the gravitas of a superhero movie's "suit up" scene. If nothing else, the moment highlights Ellen Mirojnick's work, another feather in the costume designer's cap. As with every one of the picture's elements, each choice is carefully deliberated, a negotiation of intimacy and immediacy that tries to transmit a first-person take on the period film. Two-piece tan suits rhyme with sky blue shirts, echoing the Los Alamos landscape, while a turquoise-inset silver belt buckle and porkpie-crowned cowboy-rimmed hat wink at Western iconography. It's a uniform as much as a costume, the men's "mythic look" as described by Mirojnick, who kept hats out of the other character's looks to make her protagonist stand out. 

This could be a lucky year for Mirojnick, awards-wise. Oppenheimer just might result in the designer's first Oscar nomination. Considering her vast career, it's hard to believe she's yet to be honored by the Academy…

Click to read more ...

Review: A New Take on "Fatal Attraction" (Paramount+)

By Christopher James

You can’t capture lightning in a bottle twice. Paramount+’s new trip through its catalog is the TV series adaptation of Fatal Attraction, the 1987 blockbuster. In trying to modernize this erotic thriller, this new show impressively falls short in all regards. All of its new additions involve introducing grating new characters or dulling the iconic affair duo with the clunkiest of backstories. Rather than be a new story entirely, Fatal Attraction tries to shoe-in callbacks to the original with all the tact and subtlety of a woman boiling a bunny… oops. Making matters worse, the talented cast is left completely adrift - caught in the uncanny valley of putting their own stamp on iconic characters but unable to shake off imitating Michael Douglas and Glenn Close. In both cases, they are very pale imitations.

In short, Fatal Attraction is an epic misfire across all fields...

Click to read more ...

What Other Movies Should Get The Justice League Snyder Cut Treatment?

By: Christopher James

Sequel culture has led to remake culture and now... recut culture?  HBO Max recently released Zack Snyder’s four hour cut of Justice League to subscribers. Snyder left the film in 2017 in the wake of his daughter’s suicide, leaving the project in the hands of Joss Whedon. When the film was released in November, Justice League was savaged by critics and audiences alike. The two hour film had very little character development, laughable dialogue, an unmemorable villain, bad CGI and made very little sense. Sequel culture has led to remake culture and now to recut culture of movies of the recent past.

While we prefer new movies and the classics to reworking old-IP, why not join in on the fun and ponder the alternate realities of what could’ve been had Justice League been 4 hours or had Mrs. Doubtfire been rated R? If streamers have hoards of IP and buckets of money, what other cuts of old movies should they bring to life?

Here are ten suggestions…

Click to read more ...

Smackdown '87: A Fatal Attraction to Moonstruck

The Supporting Actress Smackdown series picks an Oscar vintage to explore. Now it's time for the season finale featuring the year 1987. 

THE NOMINEES 1987's shortlist of supporting characters featured three very different moms (victim/monster/old-soul-wiseass), one selfless caretaker, and a gossipy neighbor. The actresses gathered were all mature talents, enjoying what would turn out to be their sole brush with Oscar.

THE PANEL  Here to talk about the performances and films are, in alpha order, the actor Ato Essandoh (Away, Tales from the Loop, Chicago Med), critic/author Manuel Betancourt (Judy Garland's Judy at Carnegie Hall), critic Naveen Kumar, critic Kathia Woods, and your host Nathaniel R. Let's begin!

1987
SUPPORTING ACTRESS SMACKDOWN + PODCAST  
The companion podcast can be downloaded at the bottom of this article or by visiting the iTunes page... 

Click to read more ...