![]() Meanwhile Walt learns some lessons about romance and finance from two women he knows from the local tango palace. When Rusty gets angry at Walt, she hits him with that now-standard refrain, "I'm more man than you'll ever be and more woman than you'll Man who abuses her but expects her to pay his gambling debts. "There's no romance without finance," Rusty remarks, when explaining her relationship with a macho married They are about as real as Broadway's "Cats."ĭesperate for sharp one-liners, the screenplay recycles cliches, then tries to palm them off as fresh. Revving up for a never-ending Halloween drag ball. Her noisy posse of friends look and act like shallow, preening gargoyles Rusty is hysterical, masochistic, voracious, self-loathing and ragingly "on" every minute of her waking day. But its caricatures of the transvestized and the transgendered (Rusty, who is saving money to have a sex-change operation fits both definitions) reinforces every negative stereotypeĪscribed to gay men in drag. By the end of the movie, the once rabidly homophobic policeman has clearly melted They are lessons in courage and compassion proffered by an oppressed but indomitable spirit who knows the meaning of suffering and rejection. Those lessons turn out to be much more than vocal exercises (one assignment is to learn to sing the tongue-twisting Is Rusty, his drag- queen neighbor who ends up giving Walt speech therapy in the form of singing lessons. Robert De Niro is Walt Koontz, a retired New York policeman who falls into a depression after he is disabled by a stroke suffered while trying to foil a robbery in an upstairs neighbor's apartment. Set on Manhattan's Lower East Side and fluffed out with foolish subplots involving stolen drug money and a drag queen beauty contest, the movie is essentially a comic duet for two gifted actors putting the best possibleįaces on roles that are little more than one-dimensional mouthpieces. Robert DeNiro, right, as a disabled police officer, and Philip Seymour Hoffman, a drag queen, in "Flawless." If so, that would be an unintended benefit. With men in drag as symbols of its own supposedly liberated sexual attitudes. Oel Schumacher's garish, message-laden comedy, "Flawless," is so awful it just might put an end to Hollywood's hypocritical infatuation Selected Scenes and Trailer From the Film 'Flawless'.The New York Times on the Web: Current Film.The film's smoke-wreathed, tweed-clad style looks great, but the best reason to see Flawless is ultimately Caine's top-notch work as Hobbs.'Flawless': Drag Queen Rescues a Disabled CopįILM REVIEW 'Flawless': Drag Queen Rescues a Disabled Cop ![]() Anderson's clumsy, clunky modern-day sequences that book-end the retro cool of Moore and Caine's unlikely (and unstable) partnership in crime. Finch (Lambert Wilson) asks questions about the theft, Moore gets to be defined by who she is, not by the men around her.ĭirector Michael Radford shoots the heist material with cool competence making it even more of a shame that he didn't cut screenwriter Edward A. The best thing in the film is Caine who could have imagined that one of the screen's biggest hams would have turned into such a subtle, sly old pro late in his career? Moore is also good - in the '60s scenes, Laura has a nice mix of toughness and vulnerability, and while there's a hint of romance in the air when handsome investigator Mr. Moore's clumsy old-age make-up is distracting, and the film's ultimate message feels tacked on and superfluous. FLAWLESS is a perfectly fine caper film that's undermined by the framing device and moral lesson surrounding it.
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