What’s it about?
A successful LA sports agent with a permanently furrowed brow (Michael Ealy) has his life turned upside down when a one-night stand (Hilary Swank) turns out to be the detective investigating a break-in at his home, as well as a bit of a nutter.
What did we think?
Peter Linning says: Fatal Attraction imitators are basically a genre of their own at this point and don’t usually warrant high expectations, but Fatale was a genuine treat for me in that it was one of the most wholly awful films I’ve seen in the cinema in years.
The plot provides no surprises while somehow also managing to be convoluted, the characters don’t once talk or act like real people, and a bunch of ineffective jump scares are thrown at us instead of anything remotely thrilling.
I could talk about the movie’s failings all day, but what makes Fatale special is the bizarre choices at each level of production that make it so bad.
- The sheer volume of R&B songs that have their first 15 seconds played before being cut off like they’re being controlled by an indecisive party host.
- Half of the film’s scenes taking place in the driveway of the lead character’s house.
- Michael Ealy only having one facial expression.
- The hamfisted, last-minute attempt at forcing the narrative to fit a social commentary about racially motivated police violence in America.
Fatale is a special kind of terrible, yet I desperately want people to see it so that I can talk to someone about how bad it is. 1/10