I recall very well seeing 'To die for' plastered on the TV screen in ads when it was first released in theaters, then again as it began airing on cable channels. I think the slant of those ads gave me a false impression of what the movie would be like, but I'm pleasantly surprised as it is. This is a dark, dry comedy, crafted well and anchored by a solid cast.
This is a movie about style above all else, and that's echoed in almost every aspect of its construction. The storytelling is split between apparent interviews with all characters involved, and flashbacks laying out the narrative in a more conventional arrangement. 'To die for' wasn't the first movie to employ this angle, and it definitely wasn't the last, but its use here is especially dazzling given the tone of the film, and the high variation in offered perspectives.
Just as important here are the technical aspects of the feature, as everything is geared toward making 'To die for' pop out as vividly as it could. Director Gus Van Sant arranges some outstanding shots - an iconic moment of Nicole Kidman dancing to "Sweet home Alabama," or even just a wide-angle image of Matt Dillon sitting in a living room. Costume design and wardrobe, makeup, set design and decoration, and art direction are all visually arresting, realized with sharp colors and patterns that are strikingly prominent throughout.
Then of course there's the cast, including an unexpectedly large number of very familiar faces who are all swell in their roles. But Nicole Kidman, starring as Suzanne Stone, absolutely takes center stage. Hers is a fascinating character, both naïve in her aspirations and shrewdly calculating in her sinister scheme. Kidman shines in the camera's eye just as Suzanne would want, and deftly shifts between the protagonist's plucky, enterprising, go-getter attitude and her more cold and severe moods.
With all this said, the narrative is written well and duly captivating, not least of all for the way it's conveyed, and the morbid sense of humor to the whole picture further works to keep our attention. At the same time, the very dry delivery is somewhat off-putting. And there are a lot of scenes - especially early on - that aren't funny as much as they are awkward and cringe-worthy. As well as the film is put together generally, it doesn't feel as immediately engaging as it should be - it's entertaining, but not truly fulfilling.
Don't take that to mean I don't like 'To die for,' though, because I do. I love the emphasis on style in its craft, and from an overall standpoint of narrative, acting, and technical build, it's solid. While not necessarily as fetching as it wants itself to be, 'To die for' is still an original, enjoyable film that holds up pretty well all these years later - worth checking out.
This is a movie about style above all else, and that's echoed in almost every aspect of its construction. The storytelling is split between apparent interviews with all characters involved, and flashbacks laying out the narrative in a more conventional arrangement. 'To die for' wasn't the first movie to employ this angle, and it definitely wasn't the last, but its use here is especially dazzling given the tone of the film, and the high variation in offered perspectives.
Just as important here are the technical aspects of the feature, as everything is geared toward making 'To die for' pop out as vividly as it could. Director Gus Van Sant arranges some outstanding shots - an iconic moment of Nicole Kidman dancing to "Sweet home Alabama," or even just a wide-angle image of Matt Dillon sitting in a living room. Costume design and wardrobe, makeup, set design and decoration, and art direction are all visually arresting, realized with sharp colors and patterns that are strikingly prominent throughout.
Then of course there's the cast, including an unexpectedly large number of very familiar faces who are all swell in their roles. But Nicole Kidman, starring as Suzanne Stone, absolutely takes center stage. Hers is a fascinating character, both naïve in her aspirations and shrewdly calculating in her sinister scheme. Kidman shines in the camera's eye just as Suzanne would want, and deftly shifts between the protagonist's plucky, enterprising, go-getter attitude and her more cold and severe moods.
With all this said, the narrative is written well and duly captivating, not least of all for the way it's conveyed, and the morbid sense of humor to the whole picture further works to keep our attention. At the same time, the very dry delivery is somewhat off-putting. And there are a lot of scenes - especially early on - that aren't funny as much as they are awkward and cringe-worthy. As well as the film is put together generally, it doesn't feel as immediately engaging as it should be - it's entertaining, but not truly fulfilling.
Don't take that to mean I don't like 'To die for,' though, because I do. I love the emphasis on style in its craft, and from an overall standpoint of narrative, acting, and technical build, it's solid. While not necessarily as fetching as it wants itself to be, 'To die for' is still an original, enjoyable film that holds up pretty well all these years later - worth checking out.