Fatale

The writing is notably wooden, though the cast is skilled enough this may not register straight away. Once the penny drops, the film becomes a rather fascinating study in all the tricks actors use to bring routine dialogue to life.

I guess we've arrived at the point where even movie titles are dogwhistles?

The tedious thriller starring Michael Ealy and Hilary Swank adds nothing new to the genre of female psycho movies...

The movie requires her to go full on crazy-ass slasher-bitch, much like the character at the end of another movie previously mentioned here.

This modern-day take on the Fatal Attraction premise never fulfills its promise as a lurid, guilty pleasure.

It's not a very good noir, but compared to, say, Taylor's Traffik, which used the existence of sex trafficking to claim it was based on "actual events," it represents substantial improvement.

Despite being frequently absurd and illogical, there’s something pleasurably trashy about Fatale. It is quite watchable and the exploration of race, while frequently verging on stereotypical, expands the scope of the subgenre in intriguing directions.

While the result is more engaging than one would expect, make no mistake, Fatale is exactly the type of movie you think it is going in and was made for the ones who enjoy the genre.

Fatale’s story is a not-so-subtle riff on 1987’s Fatal Attraction, but Hilary Swank’s engrossing performance is enough to keep us engaged regardless.



Even casting a two-time Academy Award winner can’t bring the movie the oomph it needs.