| Lionsgate | Release Date: December 18, 2020 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
2
Mixed:
7
Negative:
4
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Critic Reviews
Fatale proves very watchable, in an incredulous B-movie kind of way, and Taylor is a slick enough filmmaker to keep things moving swiftly and entertainingly. The film certainly looks terrific, thanks to Dante Spinotti's glossy cinematography and the high-end production design and costuming.
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The main event here is Swank, who was a plaintive and sentimental figure in her earliest movies and has only fully come into her strength in youthful middle age. This strength makes Fatale an entertaining diversion and holds out the promise for something deeper and more satisfying in the future.
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The story provides basic satisfactions expected from its ilk — infidelity is punished, pure malevolent craziness likewise — even if more rotely than one might hope. Part of the reason there’s a diminished climactic payoff here is that Swank, credible enough early on, can’t quite summon the demented spark Val needs.
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What keeps Fatale from really working as a noir pastiche (or, dare to dream, a Coens-esque ghoulish comedy of violently incompetent malfeasance) is its gentle, kid-gloved deference to the idea that Derrick is a good guy, rather than a weak-willed dope or even an affable bumbler in over his head.
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IndieWireDec 18, 2020
What’s most deadly about Taylor’s latest isn’t a miscast Swank or her character’s demented arc, or even the uncomfortable Ealy and his character’s insane idiocy, it’s the sense that this sub-genre should still be able to have plenty of naughty fun doing very bad things. Just not this kind of bad.
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