Movies starring Patti D'Arbanville
Patti was 17 before her mother allowed her to appear in an 'Andy Warhol' (qv) project but, as a matter of fact, Warhol already discovered her at the age of 13. Her start in a lesbian love-scene in Flesh (1968), was followed by a string of movies with some degree of nudity included. Since then, she has steadily appeared in good supporting roles, only with a few time-outs, i.e. for bearing 'Don Johnson (I)' (qv)'s son. ...
show all Patti was 17 before her mother allowed her to appear in an 'Andy Warhol' (qv) project but, as a matter of fact, Warhol already discovered her at the age of 13. Her start in a lesbian love-scene in Flesh (1968), was followed by a string of movies with some degree of nudity included. Since then, she has steadily appeared in good supporting roles, only with a few time-outs, i.e. for bearing 'Don Johnson (I)' (qv)'s son.
hide
|
|
Halle Berry and Bruce Willis take top billing for this tricky little whodunnit that is clunkingly unoriginal but entertainingly trashy nonetheless. Berry plays an investigative reporter who is convinced that Willis’s oily ad-agency boss is somehow involved in the internet seduction and subsequent murder of her friend. She goes undercover both on the internet and at the agency in a bid to expose him. Giovanni Ribisi provides his customarily creepy support in a film that boasts more red herrings than a Moscow fishmonger. The first half of the film is fine, but the second half becomes dafter and dafter, as suspects are wheeled out and discarded with hilarious regularity. Still, director James Foley (Glengarry Glen Ross) directs with stylish aplomb, and the film is never less than undemandingly watchable.
|
|
|
Robert De Niro plays the psycho fan from hell and the object of his obsession is baseball star Wesley Snipes in this misfiring thriller from Tony Scott. When Snipes is out of form and the San Francisco Giants hit a losing streak, pitiful loser De Niro moves into action with fatal consequences. Despite being directed by Scott with his trademark flash and dash, the sometimes over-vigorous use of mannered camera angles does nothing for an implausible plot that’s short of both suspense and surprise. Scott’s ace card is De Niro putting on his Taxi Driver act to good effect once more. For even though the edgy persona is familiar, it’s all this vulgar exploitation essay has to offer.
|
