'PASSION' OPENS FRIDAY IN 14 CITIES, EXPANDING LATER DEPENDING ON PERFORMANCE
Deadline includes Passion in its Specialty Box Office preview this week, informing that "Entertainment One will open it Labor Day weekend in 14 cities including New York and L.A. It will expand to the top 25 to 30 markets based on performance." Meanwhile, here are some more of the reviews that are coming in:
A. O. Scott, New York Times
"Its misogyny is the kind that can plausibly masquerade as feminism, and Passion is interesting precisely insofar as it succeeds in scrambling the distinction... Passion is often sleek and enjoyable, dispensing titillation, suspense and a few laughs without taking itself too seriously. Mr. De Palma, as he did in Femme Fatale, revels in a sleek, chic idea of Europe that is as far from reality (and as much fun to visit) as Woody Allen’s in Midnight in Paris.”
Armond White, City Arts
"Apparently nothing in this old-hat story of corporate skullduggery and female betrayal stimulated DePalma creatively as Hitchcock, Lang, Welles and Godard used to–so he also rehashes himself: Passion offers familiar DePalma tropes from multiple point-of-view imagery, T&A shots to an aggressive/seductive Pino Donaggio music score, even a split-screen sequence. Strangely, thereâ€™s no teasing slo-mo; a lack that suggests tepid enthusiasm."
Binx Bolling, City Arts
POSSIBLE SPOILERS-- "The final, overhead shot of Brian De Palma’s Passion twists to reveal an inverted diptych a la Masahiro Shinoda’s Double Suicide. The shot denotes two things: 1) one character waking from a nightmare and, then, 2) another character murdered. The shot also connotes two things: 1) guilt and 2) fear of punishment. It confirms the film’s relationship dynamics as based on authority and power...
"Later, in the events leading up to the murder and following in its investigation, De Palma and dp Jose Luis Alcaine use stylized lighting and wide-angle lenses to approximate a barbiturate p.o.v.—but this proves another red herring (aimed at fooling both the legal authorities and the movie audience).
"Finally, the appearance of a fictional twin (the return of the authority figure) begins the climactic nightmare. In it, the boss brings vengeance upon her subordinate in wild De Palma fashion: slow motion signifies dread inevitability in every impotent effort to dispose of evidence and regain control of the narrative."
Damon Houx, Screen Crave
"The Maestro is back! For those who’ve loved his thrillers like Sisters, Carrie, Dressed to Kill, Body Double, etc. this is a delight. And though it’s disappointing that a great piece of film like this only gets a limited release and is mostly avaiable through VOD, it’s one of the best films of the year."
Lou Lumenick, New York Post
"Auterist critics have been raving about De Palma using a split screen to show a murder and a ballet performance simultaneously ever since this played last fall’s festival circuit. But really, exactly what narrative purpose does this serve?"
Owen Gleiberman, Entertainment Weekly
"Passion, Brian De Palma's voluptuously ludicrous new thriller, features his buzziest cast in a while, and the presence of Rachel McAdams and Noomi Rapace seems to have rooted him — at least for the first half. The movie starts out as a reasonably contained satire of office politics. McAdams uses her sexy billboard smile and emphatic delivery to nail a certain type of troublemaker boss who embeds her aggression in pert 'sincerity.' And Rapace, who appears tremulous and servile but may be a more competitive head case, keeps you guessing.
"The women's sisterly bond teeters into romance and then treachery, but it's all just an excuse for De Palma to go wild with indulgence. Having kept his gliding-camera 'Hitchcockian' impulses in submission for close to an hour, he then gives in to them like a recovering alcoholic reaching for a shot of Wild Turkey. Why, for five minutes, does half the screen show McAdams walking through her house, tracked by camera movement that's less Hitchcockian than Halloween-ian, while the other half depicts the ballet performance Rapace is attending? Passion turns into vintage De Palma — which is to say, the film seems almost engineered to get you giggling at the extravagance of its absurdity. Any enthusiasm in the viewer is bound to be a shadow of the film's passion for itself."
Justin Craig, FOX News
"One of the great joys of any De Palma film is getting swept up in the cinematography, editing and music. Whether or not the acting or story work in any given De Palma film, you can almost guarantee a masterful aural and visual canvas. De Palma’s frequent composer Pino Donaggio’s noirish score fervently delivers seduction and suspense from start to finish. José Luis Alcaine’s cinematography is visceral and striking; shots pop like a sleek magazine ad and often lingers right on the edge of inclusion, as if the audience is watching a psychological experiment from behind a double mirror."