![]() The ancient archetype of the gangster as a figure of style and grace is filled ably by Nolte, who invests Bob with the broken-down elegance of a man whose addictions-crime, as well as heroin-are what keep him going, even as they threaten to end his career (and his life). Neil Jordan pays homage to his predecessor in The Good Thief, a remake of Melville’s 1956 classic Bob le Flambeur, that casts Nick Nolte as a retired thief coaxed into pulling-all together now-one last job. Nayman: The French director Jean-Pierre Melville was peerless at making precise, poetic crime films in which every piece of plot and character falls into place at exactly the right moment. Laure gets away clean with the diamonds, while Brian De Palma gets away with transforming the typically alpha-male tropes of the heist movie into a softcore set piece for the ages. It’s art and trash, just down the hall from one another. ![]() The joke is that while the audience in the film is stuck being bored by middlebrow art cinema, the Palais theater bathroom is a staging ground for the kind of suspense, intrigue, and lurid, erotic thrills that we all secretly long for at the movies. ![]() Nayman: Femme Fatale isn’t really a heist movie so much as a movie that happens to feature a heist-an intricate jewel theft at the Cannes Film Festival in which Rebecca Romijn’s Laure literally peels $10 million worth of diamonds off the half-naked body of a pretentious director’s date.
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