Palmetto/C,A-
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Warner/1998/144m/ANA,WS 2.35 |
There are moments in Palmetto,
the desperately wannabe film noir, when the ambiance takes on the
perfect sense of steamy decadence. My noir juices began salivating
as the camera captured the lazy swinging palm frond fans in the
ceiling of the bar, but even touches like that are few and far
between. Palmetto is
simply a preposterous concoction, a cockroach of a movie that wants
to be thought of as a palmetto bug.
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Barber checks out the lady.. ©Warner |
Woody Harrelson Harry Barber, a
deadbeat ex-reporter hanging out in the sweltering heat after a
two-year stint in prison. Barber
is ripe for the picking and gets involved in a faked kidnapping.
Boy, stuff like this sure worked better in Body Heat, Lawrence
Kasdan’s juicy reworking of film noir themes. Players like
Elisabeth Shue are left to breathing out ripe lines of dialogue with
sexy innuendoes, while Harrelson can’t muster enough charm to get
out of this morass called Palmetto.
Volker
Schlondorff who once directed some pretty potent fare in Germany has never
found the magic in his Hollywood outings. He’s sort of like a down
and out Harry, suckered into something he just can’t win at. Too
bad.
The anamorphic picture is slightly
window-boxed allowing for video set-ups with overscan. Images are
consistently smooth, with little or no NTSC artifacts in evidence.
The mostly bright photography is accurately depicted, though it
fails to convey a noirish mood. Colors are strong, controlled and
have excellent range. A jazzy soundtrack laced with graceful horn
riffs has plenty of air and the surround information adds dimension
to the ambiance.
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