"Let's face it: we're guys. Wandering eyes. A perceptive inclination to gander at a short skirt, a hint of cleavage, a heart-pounding hip wiggle. I ran smack dab into a door the last time I gawked, but consider myself darn lucky compared to Michael Douglas' character in FATAL ATTRACTION--a white-knuckled "don't-let-this-happen-to-you" thriller that vividly demonstrates what can happen to a guy when he lets other parts of his anatomy do his thinking for him.Manhattan lawyer Dan Gallagher (Douglas) has it all: successful career, attractive wife, loving daughter. So why not have an extramarital fling with a woman he met at a party while the family is out of town? Sure. Just a one-night stand. No harm, no foul. But there's something very "foul" about Dan's partner in crime, because blonde Alex Forrest (Glenn Close) may have all the right moves in the sack, but she also has an elevator that doesn't go all the way to the top. So when Dan wants to shake hands and part company, Alex will have none of it, and the table is set for a one-way ticket to Looney Land.Let the stalking. . .the suspense. . .the thrills and chills. . .begin. The bathroom scene, in which Dan's frazzled wife Beth (Anne Archer) wipes the steam off the mirror, is worth the price of purchase of this video alone.Director Adrian Lyne (as usual) delivers a gripping, antacid-popping story. The only positive in FATAL ATTRACTION was the fact all this bad stuff happened to an attorney. Like, how sad. I'd like to write more, but I hear the wife calling--something about all the hair in the sink. Don't want to get her riled.
Girlfriend Ain't RIGHT!!
F. Gentile | Lake Worth, Florida, United States | 06/17/2002
(5 out of 5 stars)
"This film did more for a return to monogomy than any social diseases! I've just re-watched this flick, and it's just as effective as when I first viewed it. Picture a younger Baby Jane Hudson combined with Jaws, and that's pretty much "Alex", Glenn Closes' woman scorned. Michael Douglas, as the typical, successful, arrogant, mid-'80's Yuppie, who, though perfectly nested in a seemingly great marriage to gorgeous, giving, Anne Archer, has to prove he's still a desirable stud by having a "casual" (WRONG!!) fling with Closes' "Alex", a sexy, also seemingly sophisticated associate of his. She initially gives the impression she wants the same thing as he, a "no strings attached" sex-fest, but, after a 24 hour marathon, while wifey is out of town, it begins to become apparent that Alex is becoming just a teensy bit possessive, and when Douglas, as diplomatically as possible, tries to explain to her that he's happily married, and it's dumpster time, Miss Alex IS NOT buying it. The ensuing harassment of he and his family, which starts with pranks from Alex to express her displeasure, turns into a horror-ride that will have your emotions tap dancing faster than Ann Miller!! Some people feel the need to rationalize the entirety of a film, "why'd she do that", that wouldn't happen", etc... not me. With a film like this, it either entertained me, or didn't. Well, this one certainly did. I found all the acting excellant, and the situation not all that unbelievable. Though "over the top", it is a non-stop ride of suspense as Douglas' nightmare (and life) un-folds. I recall there were some copy-cat flicks made shortly after this came out, trying to duplicate what this film has. Well, they didn't succeed, and were soon forgotten. I feel that this film, with its great cast , production, intelligent script, and direction, will not be topped for films of it's kind, and will stand the test of time. It pushes ALL the buttons."
PLAY MISTY FOR ME IS BETTER!
Patski | Phoenix, AZ | 07/20/2005
(3 out of 5 stars)
"The initial "Fatal Attraction" film, "Play Misty For Me" is loads better than this. This film is not without its merits however. Fine performances by the leads and taut direction with no lulls in the plot! Glenn Close appears very unattractive in this film (but then again, she isn't very attractive especially with that tangled hair). She looks like a psycho. One cannnot understand the motivation behind Douglas's character sleeping with her....especially when he has the gorgeous Anne Archer as his wife!! What man in HIS right mind would want to cheat on someone like her??? There is nothing in the script to justify his infidelity. This makes the story less plausible than it could have been, unlike "Play Misty" which involves a single man with a one night stand that went terribly awry. The ending packs a wallop with Douglas, Archer and Close in the bathtub sequence. It would have been helpful though to find out if Close was really pregnant or not. Psychos are pathological liars and will say anything to further their own purposes. Close succeeds brilliantly on all counts and is a great villainness. The screenplay hits another snag in the sequence where Close (Alex) kidnaps the little girl and takes her to the amusement park. There is nothing to show how this is built up? Does she just show up at the school and take the child? The child would be terrified and there would be cause for concern...unless there was no one around, which is highly unlikely. Or does she show up at the school and beguile the little girl with a story of how she is her mother's friend and her mother asked her to pick her up and take her to the amusement park. None of this is shown. All we see is Close and the little girl riding around in a rollercoaster, the little girl having the time of her life, not the least bit afraid. This would have been all right if it had been properly set up, but it wasn't. Also, if I knew there was pyscho threatning my family I would have warned my child to not talk to any strangers!! This is where the plot falls flat. Plus, didn't home security systems exist in 1987???? Or did they just forget to lock their doors when they went to the grandparents house and Close snuck in and started the rabbit stew?? Totally unbelievable. That's why this film merits only 3 stars from me."
This Ain't Fiction
Patski | 03/31/2004
(5 out of 5 stars)
"I always thought this film was totally unrealistic, just WAY too over the top in its presentation of the Alex Forrest character. Her initial little quirks, her escalating manipulation, her ultimate eruption into wholesale psychosis -- I lalways thought, "Oh pshaw, this is a cartoon! This is a movie-writer's concoction!"And then: It happened to me (though not exactly the same circumstances... we both were single). I met a genuine borderline personality disorder, and that person behaved EXACTLY like Alex Forrest (though stopping short of rabbit boiling and knife violence). I watched the film again later, and was astounded at how well the details of borderline personality disorder were captured, the self-delusion, the emotional coercion, the complete disintegration of logic and final loss of control.This is a great movie. And believe me, there really are people with all the tools (or lack thereof) necessary for becoming Alex Forrest in real life."
It's trash, to be sure, but it's stylish, likeable trash.
D. Litton | Wilmington, NC | 02/19/2002
(4 out of 5 stars)
""Fatal Attraction" isn't so much an erotic thriller as it is a stalker suspenser. Sure, the movie begins with the standard lurid sex scenes involving two respected actors pawing at each other like there's no tomorrow. But rather than succumb to such torrid displays of goofy, laughably cheesy eroticism, the material actually becomes interesting in its second half, building a solid sense of menace and intensity around the mind games of its psychotic centerfold. Michael Douglas stars as Dan Gallagher, a lawyer whose firm's clients include a well-known publishing company in New York City. His wife, Beth (Anne Archer), has hopes of moving out of their city apartment and buying a house in Bedford, where she and their young daughter travel for the weekend. And as they say, when the cat's away, the mice will play, which is just what Dan does when he crosses paths with Alex Forrest (Glenn Close), an editor from the publishing company whom he spends the weekend with. So far, so mediocre. The various conversations between characters meant to advance the plot are silly and ongoing, while the inevitable images of lustful satisfaction between Douglas and Close provide some unintentional laughs that seem to work in the film's favor. Once you see these two credible performers manhandling one another, you have a choice: you're either in or you're out. The film picks up considerable momentum once the reality of the situation sets in. Dan realizes that he can't continue seeing Alex, who becomes embittered when he avoids her phone calls and dismisses her from his office after an invitation to the opera. As he tries to juggle his secret and keep up the pretence of happiness with his family, Alex acts as a thorn in his side that keeps inching deeper and deeper, until he acknowledges the fact that she is a real threat to his family's safety. This turn of events isn't as unexpected as it would hope to be; from the various expressions of underlying menace that grace Close's face, we can already gather that she's cooking up more than just spaghetti for dinner. But, as we wait in breathless anticipation of Alex's next move, the shocks multiply, the suspense grows, and everything we initially thought about the film's beginning act is but a memory as we follow the plot into familiar yet overall satisfying grounds. Much of this rests on the shoulders of Close, who carries her character so well that any inhibitions one may have about the extent to which her character will go are left behind. Alex's coolly-calculated, ultimately psychotic plan of attack gives way to moments of sheer lunacy that Close masters with little more than a delightfully menacing smirk. When Dan finally comes clean and gets the police involved, we know just what she's going to do, and how she's going to do it, but under such a brooding performance, it all seems fresh. It's also quite nice to see Michael Douglas squirm as the victim of the movie's role-reversal, where this time, the woman makes all the rules. His performance here is commendable, and he does show a sincere amount of fear and worry over the revelation of his dark secret, and the safety of his wife and child. His scenes with Close carry their weight in sweaty-palms tension, as well as some sweet lessons about the consequences that he must face as a result of his affair. If you have the stomach to stick with "Fatal Attraction," you may find yourself enjoying it for its acting zeal and wonderfully-executed second half. It's trash, to be sure, but it's stylish, likeable trash, made so by a predictable plot tailored with a low-lying charge of intensity that grips the viewer by the hair until the blazing, bloody end."