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To Die For Reviews
Kidman is an utter force of nature in the film.
A star-making role for Kidman, who chews every bit of scenery she is in in Gus Van Sant's masterful satire.
The script is quite clever.
Without Suzanne Stone, there would be no Paris Hilton or Kim Kardashian. And now, with social media, we can curate and broadcast our own existence – imagined or otherwise.
first and foremost an exercise in bold style, with Van Sant throwing out the traditional playbook and thereby turning what might have otherwise been a Lifetime-esque potboiler into a thrilling, darkly humorous cinematic experiment
Boasts an impressive cast that includes three future Oscar winners and a tale of unbridled ambition that could've made for a riveting experience, but sadly it's all undone by a rather inexplicable, puzzling structure that reveals far too much too early.
In the way it cavorts with teen melodrama, black comedy, and docu-realism to reflect Suzanne’s contradictory masks, To Die For is a comic precursor to Gus Van Sant’s Elephant.
The more I revisit the film, though, it’s Joaquin Phoenix and Alison Folland as James and Lydia, the teens most closely involved with Suzanne, who really give it its exceptional shape.
The film, adapted by Buck Henry from Joyce Maynard’s novel, is smartly structured, but Van Sant’s touch is uncertain: the story’s satirical bite begins to loosen as his camera lingers more and more on the disaffected teen-agers.
Furiously paced and sharply funny, To Die For doesn't try for subtlety; its laughs are delivered with self-consciously heavy hands.
"To Die For" has a crisp professional snap, as if the producer had splashed cold water on Van Sant between takes.
A hilarious satiric treat.
Aside from outstanding performances, the movie is smartly paced and well designed. Most of all, it delivers fascinating characters and provocative ideas with skill and grace.
To Die For is a slickly savage look at contemporary life and the power of the media manipulators all around us.
In this wickedly funny look at TV-spawned celebrity-obsession, Nicole Kidman gives a breakthrough performance as a psychopathic Jane Pauley wannabe.
A smart black comedy that skewers America's fatal fascination with television and celebrity, it employs an unerring nasty touch to parody our omnipresent culture of fame. And it uses a rather unlikely combination of talents to do the job.
A grotesque black comedy.
As Jimmy, the teen sap who falls hard for Suzanne, Joaquin Phoenix is dead-eyed yet touchingly vulnerable -- a mush-mouthed angel.
Like Roseanne, Gus Van Sant refuses to compromise his trademark smarty-pants assault on storybook America.
If, like me, you find things to admire in all of Gus Van Sant's early films, you may be especially gratified by what he's done with a satirical anti-TV script by Buck Henry.