…And the Winner Is…

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Tari Jordan!!!

Readers of this blog are quite familiar with Ms. Jordan. She kindly wrote a review of the movie 68 Kill featuring her favorite actor, the multi-talented Matthew Gray Gubler. Tari is a huge fan of the television show Criminal Minds featuring Mr. Gubler as resident genius of the FBI’s Behavioral Analysis Unit (BAU) Dr. Spencer Reid. Ms. Jordan is the resident genius of her blog Criminal Minds Fans, where she has written about the show for several years now. Recently Tari got an amazing treat…

She and her friend Ryka got to visit the Criminal Minds set and learned about the blood, sweat and tears that makes Criminal Minds happen!

But don’t take my word for it. Be a lamb and learn about Tari and Ryka’s excellent journey at Criminal Minds Fans.

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Once again, congratulations Tari. No matter, what you’re always a winner is my book!

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Every Little Step (2008)

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Just over forty years ago, a dancer and choreographer named Michael Bennett sat down with several dancers for a 1970s-style rap session, and recorded their thoughts on an old-fashioned reel-to-reel tape recorder. After listening to these dancers pour out their hearts, Bennett knew he had something special. These very personal words were set to music and became the Tony-winning musical A Chorus Line. Today, A Chorus Line is performed all over the world and has become a cultural touchstone.

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The documentary, Every Little Step follows a group of young dancers as they go through the grueling audition process for the 2006 Broadway revival of A Chorus Line. Though many of these dancers weren’t even born when A Chorus Line first debuted, they can’t help but want to be a part of something so huge. Most of them don’t expect this to make them mega stars; they just want to dance. And besides, they need to work. As one of them explains, “I need a job. I’m out of unemployment.”

The auditioning process takes several months, and soon the pool of dancers is whittled down to a handful of hopefuls. We get to see the dancers mostly through their auditions and the characters they want to play. Several are standouts. The already notable Charlotte d’Amboise seems almost destined to play Cassie the down-on-her luck hoofer who just missed the brass ring of stardom. A Broadway veteran (Cats and Chicago) and the daughter of famed dancer, Jacques d’Amboise, Ms. d’Amboise knows how stardom can be so close yet so far away.

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Jessica, auditioning for the part of sexy Val, is a sweet and talented girl from New Jersey who has completely devoted her life to dancing and is now ready for her big break. And when Jason Tam, auditioning as Paul, a young man who recently reveals his homosexuality to his parents, brings the casting panel to tears during his audition, you know it’s a very special moment. Jason is destined to play Paul.

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Interspersed throughout Every Little Step, are talking heads with some of the original cast members of A Chorus Line. Donna McKechnie was the original Cassie and won a Tony for her work. And Bayoork Lee, who played Connie in the original production, is back as a choreographer, and she isn’t shy about whipping the dancers into shape. The late Marvin Hamlisch, who composed the music for A Chorus Line, tells us that even after winning three Oscars, he knew he had to be a part of A Chorus Line. He also lets us know how the “Tits and Ass” song got its actual title of “Dance Ten, Looks Three.” Bob Avian, who along with Mr. Bennett, choreographed the original background, is also back but this time as a director.

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But most touching is seeing footage of Mr. Bennett who we sadly lost to AIDS in 1987. We get to see TV footage of him dancing, and we also get to see interviews with him after A Chorus Line debuted describing how important it was to bring dancers and their stories to the forefront. I found myself getting a bit choked up when he received his Tony and claimed, “I wanted one moment, and now I have it.”

Soon individual dancers get their moments as they are told they got the part. You find yourself silently cheering when these dancers find out all of their hard work and determination is finally paying off (and you really feel for those who don’t get the role they wanted).

Every Little Step meant a lot to me because A Chorus Line is one of the first Broadway musicals I ever saw, and I knew it would appeal to the theater geek in me. But I don’t think you need to be into the theater to enjoy this movie. We all have the desire to do what we love, be understood and reach for the stars.

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Rivers Edge (1986)

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River’s Edge begins with Samson (Daniel Roebuck) sitting next to the lifeless body of his girlfriend, Jamie (Danyi Deats). He strangled her. Betraying no emotion, Samson later tells his friends, and brings them out to the edge of the river to show her corpse. Most of them are not moved. Hey, shit happens. But some of them, Matt (Keanu Reeves), Maggie (Roxana Zal) and Clarissa (Ione Skye) are hugely bothered by seeing their dead friend. They think the police should be notified.

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But others want to cover it up. Yea, it sucks that Jamie is dead, but John is their buddy, and they should protect him. This definitely comes into play when the group’s de facto leader, wild-eyed speed freak Layne (Crispin Glover) compels the group to keep the murder a secret, and thinks they should smuggle Samson out of the state before the cops figure out who did the horrible crime.

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Matt, Maggie and Clarissa go along for a while. But tensions begin to escalate, and these three are confused on what they should do. Should they go along with Layne and the gang? Or should they tell the police what Samson did? And if they do, what will be the repercussions? Soon they find out that Matt’s younger brother Tim (Joshua John Miller) not only knows about the crime, but also knows one of the friends has gone behind everyone’s backs to report Samson to the police.

Meanwhile, Layne and Samson become more and more at loose ends, and they take refuge at the home of Feck (the late Dennis Hopper), a one-legged, dope dealing biker. Incidentally, Feck killed his own girlfriend years ago. Now he lives with an inflatable sex doll . Oddly enough, Feck acts as a mentor and counsel to Layne and Samson.

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River’s Edge does not end things tidily. Black and white morals have become hazy grays of ambivalence, nihilism and detachment. One teacher admonishes a student on how the values of his youth have been destroyed. Ah, yes. the old boomer telling the X-ers about the good old days. Even Feck thinks killing his girlfriend was okay because, hey, it was the ‘60s maaan.

Most chilling about River’s Edge, is it was based on a true story. Also chilling is how these kids assume they have no future so they numb their feelings with drugs and alcohol. The teens in River’s Edge are 180 degrees away from the lovable, wacky suburban cherubs of John Hughes films. In those films, a kid’s biggest problem is a Saturday detention or having your family forgeting your 16th birthday. In River’s Edge, life is a detention, and parents pretty much forget they have kids unless it’s to accuse one of them of stealing her marijuana.

Written by Neil Jiminez and directed by Tim Hunter, River’s Edge boasts of some incredibly honest and brutal performances. It’s unflinching in its portrayal of a generation that when it wasn’t ignored was maligned. As one character states, “You know it’s gonna be like this all day, man. Teachers lecturing us about what kind of monsters we are.” These kids know they are considered losers, so why not act accordingly? River’s Edge is not a comfortable movie to watch, especially if you’re a Generation X-er. “Hey, I was never like that,” you might want to shout at the screen. Yet, if you’re honest you might think, “But of course, some people were like that.” And that’s what makes River’s Edge such a potent of a film.

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Coco Before Chanel (2009)

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Before Chanel no. 5 and the interlocking Cs, and before the iconic quilted bag and the classic Chanel suit there was Gabrielle Chanel, an orphan whose unorthodox fashion sense revolutionized the way we dress. And in the French film (with English subtitles) Coco Before Chanel we learn of Coco Chanel’s early years.

Gabrielle Chanel’s life began quite humbly. As the film commences, young Gabrielle Chanel, along with her sister, are left at a Catholic orphanage by their father. Though Gabrielle’s childhood seemed bleak, she did learn how to sew, and the simple austerity of the nun’s habits influences her design aesthetic. Years, later and now played by Audrey Tatou, Gabrielle is working as a seamstress at a dress shop and singing at a cabaret with her sister.

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While singing in the cabaret, Gabrielle meets Etienne Balsan (Benoit Poelvoorde), a man of considerable wealth. They strike up a friendship and he bestows her with the nickname, Coco, the name of a song she and her sister often sing. Before long Coco becomes his erstwhile mistress. She thinks his wealth may be beneficial in improving her life. Before long she is living with Balsan at his country estate.

Coco isn’t in love with Balsan, yet she bristles when he calls her his “geisha” and doesn’t appreciate when he tries to keep her hidden in the kitchen when he’s entertaining guests. Coco is not the type of femme to be ignored, and she finally asserts herself and introduces herself to Balsan’s friends.

One of Balsan’s friends is an actress and former lover Emilienne (Emmanuelle Devos). Emilienne grows fond of Coco, and is quite intrigued by her odd dress sense. At a time where women wore elaborate dresses and hats, overdone with lace, ribbons, plumes, flowers and other accessories, Coco’s simple, menswear-inspired designs were truly avant garde. But Emilienne grows to love Coco’s look, and begins to support Coco’s fashion endeavors.

At this time Coco also meets and falls in love with one of Balsan’s friends, Arthur “Boy” Capel (Alessandro Nivola), a wealthy English man. Boy adores Coco but he won’t marry her. He is betrothed to another. Not surprisingly, Coco is not happy with this news, and she makes sure Capel provides with enough money to set up her own dress shop. Coco may never share his last name, but she’ll be damned if she gets nothing out of the love affair.

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Throughout the film, we get brief flashes on Coco’s fashion influences. She cuts up Balsan’s ties, suits and shirts to fit her petite figure. She lounges around in men’s pajamas. While at the sea, she notices the fishermen’s striped jerseys, and soon they become part of her look. In another pivotal scene, we see Coco at a dress shop, administering instructions to the shopkeeper on the kind of dress she wants, black, and no corset underneath. Voila, the little black dress, the mainstay of every woman’s wardrobe, is created.

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It is these moments I wish Coco Before Chanel would have focused on. Only rarely do we get to see Coco become the Coco Chanel in scenes where she is draping and cutting of fabric, making hats and finding inspiration for her designs. I do wish the film focused more on the emerging designer, and not the romantic melodramatics among Coco, Balsan and Boy Capel. The romantic melodramatics stunted the film, and made it come across like another costume drama you might find on PBS. This narrative isn’t exactly original, and if Coco Chanel was anything it was original.

Though I’m sure Coco’s personal life was interesting, I wanted it in smaller doses. It was Coco’s ascent as a fashion designer and laser-focused work ethic on creating her clothing and her brand that I wanted to see. We do get a brief glimpse of this at the end when Coco presents one of her collections at her atelier in Paris. But these scenes are all too fleeting. Perhaps what is needed is a sequel, Coco After Chanel. Mais oui?

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No Impact Man (2009)

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We recycle. We carry our groceries in cloth bags. We shop local farmers’ markets. And we’ve even traded our traditional light bulbs for long-lasting, energy efficient spiral fluorescent bulbs. We do the best to reduce our carbon footprint and be more ecologically-sound. Still, we know we’re making an impact on our planet. Could we possibly make no impact?

Colin Beavan, a Manhattan-based writer, decided to become more “green” and lessen his family’s impact on the planet. In fact, he wanted to make no impact at all, thus becoming “No Impact Man.” Beavan began his experiment in 2006 and blogged about it soon gaining media attention from both the New York Times and Good Morning America. And his (and his very patient family) journey is captured in the Justin Schein and Laura Gabbert documentary No Impact Man.

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Beavan’s experiment went a bit further than most of us would be willing in the pursuit of making no impact. He and his family lived without electricity, public transportation, driving, television, toilet paper (yes, toilet paper) and new clothing other than the bare necessities. Beavan rode his bike everywhere, bought local produce at the farmers’ market, walked up countless stairs instead of taking the elevator and composted food scraps.

Along for the ride is Beavan’s wife, Michelle Conlin, and their adorable toddler, Isabella. Not surprisingly, Michelle is less than thrilled with her husband’s grand scheme. She’s a writer for Business Week, and is a girl with a yen for Starbucks and retail therapy. But she loves her husband, and figures she can do this experiment for a year even as she goes through serious caffeine withdrawal, and expresses her desire for another child.

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Not quite sure what he’s getting into, Beavan embraces his experiment with giddy zeal. Using no toilet paper? How exciting! And it’s not long before his blog gets media attention. Though some people find his experiment intriguing and inspiring, many write him off as an affront to capitalism, abusive towards his family and a smug, humorless yuppie. Or as Michelle plainly puts it, “They’re calling us bourgeois fucks.”

Beyond the media attention, things don’t always run smoothly. Beavan and his wife bicker about having another child. Milk gets spoiled when the family relies on using two clay pots for refrigeration. And remember, no toilet paper, which makes them subjects for ridicule.

But still, the family soldiers on in their quest to lessen their impact on the environment. It’s not long before they find out that some things about their experiment are pretty cool. They enjoy spending time at the park and riding their bikes together. Even an old-school games of charades turns out to be more fun than a night in front of the boob tube watching reality TV.

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No Impact Man can at times be exasperating (no toilet paper), but you can’t help but come away with some more awareness. It helps that Beavan (and his family) is rather likable, frustrating, yet likable. Sure, Beavan can be a bit rigid, but he’s no finger-wagging scold. He knows what he’s doing is experimental. Sure, Michelle whines at times (that must be the caffeine withdrawal), but she’s no bitchy shrew. In the end, you see a family that truly loves and appreciates each other, and you also learn a few things. Shop at local farmers’ markets? Why yes. Stop using toilet paper? You’ll get my Charmin Double-Ply when you take it from my cold, dead hands.

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Blame It On Fidel (2006)

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It’s 1970s France, and little nine year old Anna (Nina Kervel-Bey) lives a charmed life. She resides in Paris with her journalist mother, Marie (Julie Depardieu), lawyer father, Fernando (Stefano Accorsi) and little brother, Francois (Benjamin Feuillet). She is adored by her grandparents who make their home in a grand estate in the French countryside. As Blame It On Fidel begins, we see Nina at a family wedding, outfitted in an immaculate frock, and schooling her lesser cousins on the proper way to cut a piece of fruit with a knife and fork.

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However, Nina’s life is about to get topsy-turvy. Her father, originally from Spain, takes in his sister and her daughter after his brother-in-law disappears under Franco’s fascist regime. Doing this alters Nina’s parents’ priorities. Fernando begins to focus his new radicalized politics on his law practice. Marie, stops writing superficial articles for Marie Claire, and begins to write articles about serious women’s issues, including the thorny topic of abortion.

Nina doesn’t care about any of these things. She just knows her life has been changed completely. And she doesn’t like it. Her beloved nanny, Filomena, is let go only to be replaced by a string of different nannies (including one who provides the title of the film). Her family moves from their huge home to a cramped apartment. Bearded, smoking radicals are always around taking up her parents’ time. And Nina is removed from her beloved religion class at school.

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The movie is seen mostly through Nina’s nine-year-old eyes. She doesn’t care about what’s going on in the world. She just wants things to go back to the way they were. Sure, she’s self-absorbed, but so are most children. They want security and stability. They don’t care about “sticking it to the Man.”

And what makes Blame It On Fidel most effective is how it is shot at a child’s eye level. This is most evident when little Nina is dragged along with her parents to take part in a political demonstration. All Nina can see are legs, arms and feet. She is too small to see the faces of the protesting adults. And when things get out of hand, and tear gas fills the streets, you feel Nina’s fear and confusion.

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Blame It On Fidel is superbly directed by Julie Gravras, herself the daughter of lefty movie director Costas-Gravras. This is a film that could easily be grim and one-dimensional  but a has wry humor and a bittersweet sentiment. Nina’s parents may want to change the world, but their love for her will never waver. And perhaps once Nina gets older, she will realize this.

All the performances are wonderfully acted. But Miss Kervel-Bey is astounding as young Nina, her serious face and intense eyes conveying so much. With a lesser talent, Nina might come across as bratty and spoiled, but Kervel-Bey gives this young character a heart and soul the movie so richly deserves.

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Blame It On Fidel is not rated, and is in French with English subtitles.

Guilty Pleasure Movies: Rock ‘n’ Roll High School (1979)

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In 1979’s Rock ‘n’ Roll High School, Vince Lombardi High students love rock ‘n’ roll, but they don’t seem too interested in getting an education. The leader of these wayward students is Riff Randall played by PJ Soles (whatever happened to her?). Riff is a huge Ramones fan and would love for them to play at her school. Unfortunately, she has Principal Evelyn Togar (Mary Woronov) to deal with. Principal Togar hates rock music and vows to keep it out of the hallowed halls of Vince Lombardi High. After all, how can students concentrate on studying for finals when they’re too busy cranking up the Ramones to ear shattering decibels? Principal Togar recruits horrified parents to burn the offending records, which inspires Riff and the rest of the students take over the school. They are joined by the Ramones who are made honorary Vince Lombardi High students. Finally, the police are summoned and they demand the students evacuate the school, which leads to one hell of a finale. Hmm, my high school years certainly weren’t this explosive.

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Rock ‘n’ Roll High School is loads of fun and boasts a kick ass soundtrack. It’s the perfect guilty pleasure flick for anyone who has wanted to stick it to the man, or in this case, the principal. When you wanna rock, reading, writing and ‘rithmetic can wait.

Saving Face (2004)

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In writer/director Alice Wu’s inter-generational family comedy Saving Face, Michelle Krusiec plays Wil (short for Wilhelmina), a medical resident without much time for a life let alone romance. The only social life Wil seems to have is at Chinese-American gatherings in Queens where people try to set her up available young Chinese-American men.

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However, Wil has a secret. She’s a lesbian. And at one of these gatherings she meets Vivian (Lynn Chen), another lesbian who is also a dancer. Sparks fly between the two women, and slowly their flirtation turns into a romance. However, Wil isn’t quite ready to come out to her family so the romance has to remain a secret much to Vivian’s chagrin (and it doesn’t help that Vivian’s father is also Wil’s boss at the hospital).

In Saving Face, Wil’s mother (Joan Chen) also has a secret, but it won’t stay a secret for long. She’s in her forties, widowed, living with her parents…and pregnant. And she’s not exactly too forthcoming on the man who fathered her child.

Bringing shame onto the family name, Wil’s mother (known as Ma) is kicked out of her parent’s home. Knowing nowhere to turn, she ends up on Wil’s doorstep, and Wil takes her mother in, wondering how she’s going to keep her romance with Vivian a secret and deal with Ma’s impending late in life motherhood.

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As Ma’s belly grows, Wil learns more about her mother, seeing her more as a flesh and blood woman with her own desires and needs. However, this doesn’t exactly inspire Wil to come clean to her mother, and she tries furtively to keep her relationship with Vivian a secret. To be knocked up out of wedlock is one thing; to be a lesbian is quite another. What will the neighbors think? Actually, it’s one of Wil’s neighbors who tries to get her to face herself and Ma.

But will this happen soon enough? When Vivian announces she’s been offered a chance to dance in Paris, Wil realizes she needs to make a decision. Come clean, and admit her romance with Vivian, or remain closeted and let Vivian go. In other words, save face (yet lose someone she truly cares about).

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And Ma must also make some major decisions. One is opening up about who’s the father of her child, a man that superficially, might not seem suitable. And this decision must be made soon before Ma makes the disastrous mistake of marrying someone she doesn’t love just to give her unborn child a name.

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Saving Face examines how we balance the old world (when Wil is with her grandparents she speaks in Mandarin) with a “modern society” (unplanned pregnancy, homosexuality and careerism). And in like any other family, the families in Saving Face are flawed, yet loving. Saving Face may remind viewers of the sleeper hit My Big, Fat Greek Wedding. And though Saving Face is a bit predictable, its good performances and sweet charm make it worthwhile viewing.

I Watch It So You Don’t Have To: Intern (2000)*

 

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If any industry seems perfect for satire and parody it’s fashion, especially the rarefied world of fashion magazines. Fashion doyennes decide where our hemlines will be this season with the same seriousness as preparing military readiness in the Middle East. Bulimia and anorexia are considered virtues. And Botox is as necessary as air and water. Ugly Betty was a successful television sitcom immersed in the world of fashion, and The Devil Wears Prada was a huge smash, so I had big hopes for the indie movie Intern. Sadly, Intern turned out to be as big of a Glamour fashion don’t as see-through jeans and pretty much every outfit you see on the Kardashians.

Dominique Swain plays Jocelyn Bennett, an intern at the fashion magazine Skirt. Jocelyn is apparently a photographer, though you never once see her take a picture, and she is fan of Skirt’s innovative layouts and photography. Sadly, in the brief moments we get to see Skirt, the actual magazine, you wonder if the layout was done by a third-grader on Power Point back in 1998. Yes, I know this movie was low budget, but you think someone could have tried a bit harder.

When Jocelyn isn’t making copies, faxing, running errands and cleaning up Skirt staffers’ desks, she’s pining away for the magazine’s art director, Paul Rochester (Ben Pullen). Paul is a fashion magazine rarity, a straight man. And he’s also allegedly related to Prince Charles. Paul is very fond of Jocelyn but at the moment he is involved with a bitch-on-heels fashion model named Resin (Leilani Bishop).

As Intern begins we find out a Skirt insider has been selling Skirt’s secrets to rival magazine. Jocelyn figures finding out who this insider is just might make her a hero at the magazine, and she goes about trying to find out which fashionista has betrayed Skirt. This also gives her a chance to get closer to Paul. Of course, mayhem ensues, blah, blah, blah. But by the time the movie reaches its dénouement, we really aren’t that invested.

I should have known this movie was going to be crap when it began with a cringe-worthy musical number. Most of the observances of the fashion industry, like when an editor makes herself vomit after finding out the milk in her coffee is 2%, not skim, fall flat. The dialogue is clunky, and when Paul tells Jocelyn that she has the whole world inside of her I audibly groaned. A majority of the performances are wooden; only Kathy Griffin as Cornelia managed to get a laugh out of me.

A lot of blame also belongs on Swain whose acting in Intern is amateurish. At times she rushes through her lines and she has no comedic skills. Her Jocelyn is supposed to be the heroine but in the end you don’t care about her and her future at Skirt. Plus, if Jocelyn is supposed to be so much in fashion why does she dress like such a frump?

A lot of fashion designers and other fashion insiders make cameos playing themselves, and I have to admit that I did have fun naming them. “Hey, there’s Diane von Furstenberg!” “Hey, is that Simon Doonan?” And Vogue editor-at-large, Andre Leon Talley seems to have the ability to poke fun at himself.

Sadly, those cameos can’t make up for a dimwitted film. Intern was written by Caroline Doyle and Jill Kopelman, two women who claimed to have worked at fashion magazines. Buddhist monks could have written a better script. If you want to watch the fashion magazine industry skewered to great effect, you are better off staying home and binge watching Ugly Betty.

*Not to be confused with the 2015 movie The Intern starring Ann Hathaway and Robert DeNiro.

To Die For (1995)

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Based on a novel by Joyce Maynard, with a script by Buck Henry, and directed by Gus Van Zant, To Die For combines dark comedy, traditional drama and “mockumentary” interviews to very entertaining results.

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Nicole Kidman plays Suzanne Stone, a local cable weather girl with huge dreams of finding fame and fortune as the next Barbara Walters. What Suzanne lacks in talent and intelligence, she makes up for in manipulation and ruthlessness, and nothing, including her marriage, will get in her way.

The movie commences with Suzanne marrying Larry Moretto (Matt Dillon), the biggest catch in Little Hope, New Hampshire. It’s not certain why Suzanne falls for Larry other than she thinks his close Italian-American family has mob connections, which can help her achieve her goals. Larry is lovable, albeit a bit dim, and completely clueless to Suzanne’s calculating ways. All Larry wants to do is settle down in Little Hope, run the family restaurant and makes lots of babies with Suzanne.

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Of course, Suzanne has different plans. Despite her lack of journalistic and television experience she’s able to charm a local cable TV manager in giving her a gofer job. She parlays this lowly position into a regular stint as a weather girl. It’s not long before she recruits some local teens in producing a subpar TV special called “Teens Speak Out.” Jimmy (Joaquin Phoenix), Russell (Casey Affleck) and Lydia (Alison Folland) are the hardly the type-A achievers you’d expect on a teen-oriented TV show. They’re inarticulate and not good students, but apparently being in awe of Suzanne is the only job requirement necessary.

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Larry gets a bit fed up with Suzanne’s ambitions and tells her it’s time to get busy with making babies. But Suzanne will have none of this. She tells her mother-in-law that being pregnant on TV is a career killer. Oh, if only Suzanne had waited a decade or so. Today, baby bumps and stupidly named off-spring are the “must have” for any celebrity. You can even become famous for simply having kids.

Suzanne realizes Larry, and his meddling family, is getting in her way of achieving TV success. There is only one thing she can do, recruit Jimmy, Russell and Lydia in bumping off her husband. Now having an affair with the devious, yet seductive Suzanne, Jimmy does the deadly deed. This local murder becomes national news making Suzanne the “star” she always desired and she revels in her tabloid notoriety. Not surprisingly, the hapless Jimmy is not so lucky.

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However, Larry’s family is very wise to Suzanne’s scheming ways and they make sure Suzanne gets her comeuppance. The mousy Lydia, who Suzanne disdained as “white trash,” tells her story in a television interview and becomes famous in her own right.

Every performance in To Die For is near perfection. Matt Dillon is very good as a man who’s happy to have the prettiest girl in town but really wants the homebound hausfrau. Illeana Douglas as Larry’s sister Janice is dryly sarcastic and figures out Suzanne’s BS early on in the game. Both Phoenix and Affleck show a great deal of promise early in their careers in their respective roles.

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But To Die For is truly Nicole Kidman’s film. With Kidman’s acting chops, Suzanne Stone is hugely self-absorbed but not very self-aware. Her calculation and cunning is as transparent as a plate of glass, but her telegenic beauty and media-savvy charm succeeds in drawing you closer. Despite ourselves, we want Suzanne Stone to be in front of the camera. Kidman won a very deserved Golden Globe for her portrayal of Suzanne Stone. She is simply a bewitching mix of evil and charisma, and Suzanne Stone is a person we recognize in everything from reality TV to national politics (ahem, or both).

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Both the film and the novel were inspired by Pamela Smart, a teacher and wannabe TV personality who convinced a young man to kill her husband. But instead of telling this story straight, the film takes a very satirical look at our obsession with celebrity, fame and notoriety. Merely entertaining when it was released over ten years ago, in our celebrity-entrenched culture, To Die For is a pointed take on a very interesting phenomenon, the desperate need for fame at any cost.