| Warner Bros. | Release Date: February 20, 1998 | CRITIC SCORE DISTRIBUTION | ||
|
Positive:
10
Mixed:
8
Negative:
4
|
Critic Reviews
After watching this hot-and-heavy costume drama, I had to wonder why there are not a lot more like it. Not that I necessarily wish there were, you understand. But this sort of picture has so much going for it from a "date-night" perspective that I'm surprised there are so few of them. [13 Mar 1998, p.20]
Beauty plays like a costumed version of "Melrose Place" or "Dynasty." But despite the film's gaudy, trashy excesses, and despite the constant flash of flesh for the men in the audience, this one is really for the women. [06 Mar 1998, p.25]
Whatever else it does, it absolutely convinces us that the life of most women during this supposedly enlightened period of Renaissance history was little better than slavery, and the only level playing field in the war of the sexes was the courtesan's bedroom. [27 Feb 1998]
Dangerous Beauty is a costume drama that hasn't quite decided whether it wants to exist on the level of serious historical drama or trashy entertainment. [20 Feb 1998, p.C6]
Although a fact-based period drama set in 16th-century Venice, "Dangerous Beauty" is really an allegory about modern society's puritanical attitudes about sex. [27 Feb 1998, p.F7]
Based on the days and especially nights of Venice's 16th century courtesan Veronica Franco, this alternately dull, lively, sexy and silly costumer lightens the locks of brunette Braveheart dish Catherine McCormack. [27 Feb 1998]
Director Marshall Herskovitz and his cast haven't been able to achieve the outsized grandeur that could make us take the story seriously. It's not zany enough to be camp, except in one or two spots, yet it's too small to be epic. [06 Mar 1998, p.9E]
It's a pure feast of eye candy. [06 Mar 1998, p.9G]
Dangerous Beauty, by any name, embodies no such thing. [27 Feb 1998, p.12]
In compositions lustrously lit and creamily colorful as an elegant piece of soft-core porno, the moviemakers guide us through Veronica’s life, from virginity to bawdy fame to sainthood. Reality never intrudes — even though the script obviously wants to set us straight about gender, femininity and political power in 16th Century Venice.
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The sheer abundance of bare bosoms and coyly choreographed hanky-panky is exceeded only by the syrupy swell of violins at every climax. [06 Mar 1998, p.L31]
The camera work is pretty, but the drama is flat and lifeless, more concerned with titillating its audience than illuminating its historical background. [20 Feb 1998, p.B2]
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