This is quite the experience, in a number of ways. There are more than a few parts that haven't aged well, including a lot of racist jokes, and the totally free-wheeling, "devil may care" attitude of the detective protagonist. Stylings of the 1980s are plastered all over the production, from neon lights, and colorful sartorial arrangements or hair and makeup work, to the gratifyingly excellent soundtrack. (I'm also a big fan of Harold Faltermeyer's original score, which carries similar instrumentation and sensibilities.) There's some wonderful cleverness in the writing at many points, building into some swell comedy, while instances of action are distinctly more violent than I'd have expected. And at the same time that there's terrific detail in some aspects of the writing or the production at large, taken as a whole the plot is relatively light and simple. Whatever else is true of it, though, 'Fatal beauty' is well made, and entertaining - and that's what matters most.
Putting aside the utmost indelicacies, there's plentiful wit in the dialogue, quips that alongside situational humor defines the comedy. The action scenes are marvelously well orchestrated, with fantastic stunts, set pieces, and effects, and naturally that goes for the climax most of all. The cast is a blast, including even those in smaller roles, but especially irreplaceable Brad Dourif as the antagonist - startlingly dark and wild, in the way he does so well - and Whoopi Goldberg as protagonist Rizzoli, given an opportunity to illustrate fine range in a part that's surprisingly dynamic. The production design and art direction, at large, are really quite superb, offering a minor sense of nostalgia as the 80s are so vividly brought to life.
On the other hand, it should be said that there's a small matter of balance - for 90% of the runtime, 'Fatal beauty' is squarely an action-comedy. Heading into the third act, however, there's a sudden tonal shift for a couple scenes that would fit better into a much more dire and straightforward drama. Make no mistake, it's all excellent, and the second of these in particular is a major emotional beat that's completely solid as it's written and executed, providing welcome character information. And, in breaking from the tenor of the rest of the film, Goldberg takes the spotlight for a monologue that lets her pour her heart out, and it's very moving. Still, for those few moments, the movie also becomes something else entirely, and it's a little odd. This very much dovetails into another consideration - that for as much as the picture wants to be a romp, it also leans hard into a somber narrative thrust of "drugs are bad, mmmkay?" This is not insensible - for all the weirdness in culture, the 80s were also known for a huge push in the "war on drugs," and there's much to be said for the unpredictable danger of street drugs. One just can't help but wonder, though, if the Drug Enforcement Administration, or maybe the Los Angeles Police Department, didn't funnel some money into the production. Some of the writing just feels a tad too on the nose.
And for one last major critique: the romantic element between Goldberg's Rizzoli and Sam Elliott's Marshak isn't believable for one moment. It's forced and contrived as written, and with all due respect to Goldberg and Elliott, the spark just isn't there. This part of the feature feels like nothing more than an obligatory trope: if a man and a woman share the screen, they MUST fall in love, dontcha know!
With all this said, I didn't know what to expect what I began watching, and I had a good time. This isn't without its faults - not by a long shot - and the writing could have benefited from a tighter focus and a hair more nuance in the plot. Yet more than specifically anti-drug propaganda, or romance, or strictly action or strictly comedy, 'Fatal beauty' wanted only for its audience to enjoy themselves. It falls short of perfectly achieving that aim, but I'd also say that I think maybe I'm too unkind as it is. When all is said and done this isn't necessarily an 80s flick you need to go out of your way to see, but if you have the chance to watch it, 'Fatal beauty' is pretty fun, and not a bad way to spend 100 minutes.
Putting aside the utmost indelicacies, there's plentiful wit in the dialogue, quips that alongside situational humor defines the comedy. The action scenes are marvelously well orchestrated, with fantastic stunts, set pieces, and effects, and naturally that goes for the climax most of all. The cast is a blast, including even those in smaller roles, but especially irreplaceable Brad Dourif as the antagonist - startlingly dark and wild, in the way he does so well - and Whoopi Goldberg as protagonist Rizzoli, given an opportunity to illustrate fine range in a part that's surprisingly dynamic. The production design and art direction, at large, are really quite superb, offering a minor sense of nostalgia as the 80s are so vividly brought to life.
On the other hand, it should be said that there's a small matter of balance - for 90% of the runtime, 'Fatal beauty' is squarely an action-comedy. Heading into the third act, however, there's a sudden tonal shift for a couple scenes that would fit better into a much more dire and straightforward drama. Make no mistake, it's all excellent, and the second of these in particular is a major emotional beat that's completely solid as it's written and executed, providing welcome character information. And, in breaking from the tenor of the rest of the film, Goldberg takes the spotlight for a monologue that lets her pour her heart out, and it's very moving. Still, for those few moments, the movie also becomes something else entirely, and it's a little odd. This very much dovetails into another consideration - that for as much as the picture wants to be a romp, it also leans hard into a somber narrative thrust of "drugs are bad, mmmkay?" This is not insensible - for all the weirdness in culture, the 80s were also known for a huge push in the "war on drugs," and there's much to be said for the unpredictable danger of street drugs. One just can't help but wonder, though, if the Drug Enforcement Administration, or maybe the Los Angeles Police Department, didn't funnel some money into the production. Some of the writing just feels a tad too on the nose.
And for one last major critique: the romantic element between Goldberg's Rizzoli and Sam Elliott's Marshak isn't believable for one moment. It's forced and contrived as written, and with all due respect to Goldberg and Elliott, the spark just isn't there. This part of the feature feels like nothing more than an obligatory trope: if a man and a woman share the screen, they MUST fall in love, dontcha know!
With all this said, I didn't know what to expect what I began watching, and I had a good time. This isn't without its faults - not by a long shot - and the writing could have benefited from a tighter focus and a hair more nuance in the plot. Yet more than specifically anti-drug propaganda, or romance, or strictly action or strictly comedy, 'Fatal beauty' wanted only for its audience to enjoy themselves. It falls short of perfectly achieving that aim, but I'd also say that I think maybe I'm too unkind as it is. When all is said and done this isn't necessarily an 80s flick you need to go out of your way to see, but if you have the chance to watch it, 'Fatal beauty' is pretty fun, and not a bad way to spend 100 minutes.