By Neala Johnson
“It’s nice,” says Eva Green, “not to play the girlfriend.”
“I don’t want to be the woman in the script where it goes, ‘There’s a beautiful, mysterious woman …’ Just, OK, forget it. I think I would feel unhappy … Some people play it very well but I want to be as equal as a man, you know what I mean?”
Oh, we know what she means.
As far as mysterious girlfriends go, Green played a stunner — to Daniel Craig’s James Bond in his first, bracing outing, Casino Royale.
So impactful was Green’s Vesper Lynd, Bond basically spent the next three films getting over her.
But now the London-based Frenchwoman is over it too. Searching for the word to perfectly capture what she wants to do from here on in, Green finally settles upon “other”.
“It’s exciting to be other.”
If it’s other she wants, Green could wish for no better co-conspirator than Tim Burton.
She teams with the famously eccentric director for a second time on Miss Peregrine’s Home for Peculiar Children, a fantastical adaptation of Ransom Riggs’ best-selling young-adult novel.
Green plays Miss Peregrine, a woman who, while protecting a gaggle of children with unusual abilities from outside threats, also has a peculiarity of her own: as the name suggests, she can transform into a bird.
“I remember Tim called me a year before the shoot. He was like, ‘I’ve got this book, I wonder if you would be interested?’ I was like, ‘Anything, I’d play anything for you’. But he was like, ‘No, no, I want you to read it and see if you like her’.”
A woman-bird who’s handy with a crossbow, has absolutely no love interest and is slightly bonkers? It’s safe to say Green liked her.
“Tim called her Scary Poppins, which I thought was quite funny,” the 36-year-old laughs. “But she’s not a bad, mad woman — it’s all to save her children. She has the ability to transform into a peregrine falcon and because peregrine falcons are the fastest animal on earth, she delivers lines very quickly.
“I watched some documentaries on birds. It was kind of a challenge — I was trying to have little, sharp movements with my head and not much blinking at all, using my hands like claws, my long nails. You always worry that you’re going a bit over the top, but I had a lot of fun … playing her like Mary Poppins on speed.”
As Eva Green reunites with Tim Burton on the big screen, the former Bond girl chats to Susan Griffin about playing ‘Scary Poppins’ and her memories of Casino Royale, a decade on…
Eva Green is lamenting her age. “I feel old,” she exclaims when asked how it feels to mark a decade since the release of Casino Royale, the Bond movie that marked Daniel Craig’s debut as 007.
Green played Bond girl Vesper Lynd, a role she’s “proud” to have tackled, although she was tentative when first approached.
In her head, she no doubt had visions of playing bikini-clad arm candy, so was pleasantly surprised to hear the outline for the character: a foreign liaison agent who beguiles Bond but whose deception ultimately leads to her demise.
“Vesper was an enigmatic character, but very human, very sensitive, and it was mainly the love story that was very appealing to me in that one,” remarks the 36-year-old actress, beautiful yet delicate-looking in floor-length black lace.
Green was born in Paris but speaks in an acutely-enunciated English accent, her blue-green eyes defined by layers of smoky eye shadow. She’s friendly, but not someone who will fill the air with unnecessary and inane chatter.
The rumours continue as to whether Craig will step down from the role following his fourth outing in last year’s Spectre.
Does she think it’s time for him to hang up the tuxedo?
“I don’t know,” ponders Green. “He does what he wants, but he’s such a wonderful Bond because he’s so in his body. He’s sexy, raw and rugged.”
Since her debut screen role in Bernardo Bertolucci’s The Dreamers in 2003, where she and her co-stars, Michael Pitt and Louis Garrel, spent a large proportion of their screen-time naked, the actress has forged a reputation for playing empowered women, entirely confident in their own skin. But they’re not all femme fatales, she notes, as is often perceived.
“I played a femme fatale 100 per cent in [2014’s] Sin City: A Dame To Die For, there are not many dimensions, she’s like a psychopath,” notes Green, who studied acting in London and directing in New York, and won the Bafta Rising Star Award in 2007.
“In the other roles I’ve played – some of the roles anyway – they’re strong women, but there is more behind the strong facade. There are cracks in the armour and they’re quite complex.”
Her Bond role aside, Green’s standout performances include Sibylla, Queen of Jerusalem in Ridley Scott’s A Kingdom Of Heaven, warrior Artemisia in 300: Rise Of An Empire, and the possessed Vanessa Ives in the horror series Penny Dreadful.
By Donna Freydkin
French actress Eva Green exudes a mysterious, cool edge. And it’s put to perfect use in “Miss Peregrine’s Home for Peculiar Children,” with Green playing the pipe-smoking headmistress of a haven for odd kids — those who defy gravity, or house a beehive within themselves, for example.
Green, who most recently embodied seductive, sultry and powerful Vanessa Ives in Showtime’s horror drama “Penny Dreadful,” approached the role in the Tim Burton film with one guiding principle: “That of a dark Mary Poppins. I spoke quite fast. There’s something very sharp and precise about her. No messing around. The bird movements. It could go wrong quickly – that was my worry,” says Green.
She fully embraced her character, who has the same habit as many a detective. “I had two pipes. I kept one of them. I learned how to smoke them. There’s an art to it. It’s a delicate art. It helps me as well to bring a virility to her. It’s such a cool prop,” she says.
Miss Peregrine can transform into a falcon. And she has her own power: the ability to stop time and live in an endless loop. Would Green ever want to do that in real life?
“I don’t think so. The idea of being stuck and being forced to relive things, it’s quite scary. But of course, if it’s a nice holiday – today, I’d like to go to this wonderful holiday in Africa I’d been to,” she says.
It was a vacation that changed her life. “I went to Africa on my own. It’s a bit strange. But I loved it. It was unbelievable. I was scared at the beginning. What am I doing? After a while, there’s something you learn about yourself but only if you’re on your own. There’s something so free about that. It’s empowering,” says Green.
Green broke out in “The Dreamers,” the 2003 deeply erotic film by Bernardo Bertolucci. She went on to play Vesper Lynd in 2006’s “Casino Royale” and Ava Lord in Frank Miller’s and Robert Rodriguez’s “Sin City: A Dame to Kill For.”
But at no time in her career has she played the bland girlfriend, or the chipper spouse, or the pretty, wide-eyed arm candy. She has no plans to start now.
“I’ve never really played the love interest. I’ve never, ever accepted a role like that. But here it was nice to have a different goal, to have those children to look after. I love playing the protector,” she says. “I like characters who are complex. That’s why people sometimes say it’s dark. I don’t know what that means. It’s complex. Life is not rosy.”
Like actresses of yore, Green cultivates an air of mystery about herself. She is not on social media. She doesn’t do much press. And she doesn’t air her romantic dirty laundry in public.
“I feel like I’m old school,” she says of Twitter and Instagram. “It’s kind of scary. I could get addicted as well and I don’t want to get there. I understand that sometimes those media are good for a cause, or political things, for your work, that I understand. But to say you picked your nose at 4:30, that’s alien to me. You don’t want to give too much away. Look at me!”
by Drew McWeeny
The first real rabid Penny Dreadful fan I talked to was Greg Ellwood here at HitFix. He was a steadfast believer the entire time it was on the air, and he encouraged me to watch it. I was busy cutting the cord, though, moving away from cable subscriptions. I had no cable in the house, none in my office, and chose not to watch anything on TV. I used Hulu, Netflix, HBO Now, Amazon Prime. And if a show didn’t land in one of the services I used, then it just went on a list of things to watch someday. Maybe.
Today is that day for Penny Dreadful for me. After Greg, the person who really picked up that ongoing advocacy for the show was Brian Duffield, who shares my deep abiding love of Eva Green’s work, and he has always been insistent that I was missing some of her very best work by not finding a way to watch the show. I couldn’t justify all of the expense for one title, though. I just waited, and when I moved into my new apartment this week, I finally reversed course, buying a cable/Internet bundle with a very healthy On Demand library. I checked to see if I had a Showtime folder, and then checked to see if they had all of the Penny Dreadful episodes, and just as I got excited about that, Netflix also added the series, although only the first two seasons.
It was suddenly abundantly available and so I put on the first one this morning while working, and that rolled right into the second one, and all of a sudden, there was Eva Green, and there was this seance, and she grabbed this script by the neck and cracked it open and drank the marrow and never once blinked, damn near staring the audience down, daring them to look away.
That’s Eva Green, though. From the moment she appeared in The Dreamers thirteen years ago, she made it clear that she was no one’s fantasy, no one’s object, no one’s simple fantasy. She is willing to follow a good piece of material anywhere, and watching her tear into good writing is one of the great pleasures of film these days. When I spoke to her about her work in 300: Rise Of An Empire, I was practically levitating because it’s such a knowing, accomplished piece of work. She read that script, she got exactly how to make that character spring to vivid life, and she dug in unabashedly. I don’t think Sin City: A Dame To Kill For is very good, but she positively skins it. She leans into the stereotypes that Frank Miller’s using and she twists them all into her own particular versions of them. When she played “the Bond girl” in Casino Royale, she ended up making Vesper into something just as morally and emotionally complicated as the original Ian Fleming conception of the character, if not more so.
Tim Burton’s Dark Shadows has 99 problems, but Eva Green ain’t one. She showed up to that film to play, and she owns Johnny Depp in every scene in the film. Seems apt. In a world where men get to be character actors for decades, building rich galleries of portrayals of a wide range of types and voices and backstories, women are often relegated to teasing out variations on a fairly limited range of roles. Eva Green has never allowed herself to be held back by that, though, and when a filmmaker understands just what a rich collaborator Green can be, it seems like there’s no limit to the rewards that the finished film will reap. She should have the kind of career Depp has, and it seems like she is forcing the industry to bend to that idea instead of her having to give up and just take the girlfriend or wife roles like everyone else.
Today is her birthday, and I don’t particularly care what number it is. What I care about is watching the rest of this series in the weeks ahead, and savoring the way a TV show, especially today as the caliber of writing seems to have risen across the board, allows a great actor to do something they can never do in film, living in a character’s skin over time, building in a million details that make the character even more vivid, even more real. And if I could give her one birthday present, it would be the promise that no one will ever do to her work what Ridley Scott did when he cut the theatrical version of Kingdom Of Heaven in 2005. Her character had a son in the film who played an essential role, but when Scott was pushed to create a theatrical version of the film that was an acceptable length, he chose to cut her son from the movie completely, and it destroyed her character in a way that was remarkable. It was only once I saw the longer cut that I realized just how impressive her work was, and how much William Monahan had given her to do. Here’s hoping that as she continues to move from role to role, filmmakers rise to the challenge and they write strong, smart, eccentric roles for her to play. I’m looking forward to seeing her play Miss Peregrine in Tim Burton’s Miss Peregrine’s Home For Peculiar Children, and you can see the latest trailer for it below. But I want more for her. I want her to conquer. I want her to find a filmmaker who is excited by what she brings to a collaboration. I want Hollywood to deserve her.
In the meantime, I’ve got lots more Penny Dreadful to get to. Celebrate her birthday right and join me if you’re also been missing out.
– Magazine & Newspaper Scans > 2014 > Soul (Greece) – June/July 2014
By Julie Schott
Why the French actress is “becoming very LA.”
Sometimes Penny Dreadful star Eva Green wishes she could switch places with her twin sister and enjoy the luxury of anonymity. “She has an amazing life in Italy. She’s married to a count,” Green says. “I wish I could be her sometimes. She’s more down to earth.” When the French actress wants to disappear–a difficult feat after her mega-sexy turn in Sin City: A Dame to Kill For–she puts on her “teenager” uniform: “black t-shirt, black leggings, no makeup.”
But her signature jet-black hair, red lips, and, let’s be honest, cleavage make it impossible to blend in. We want to know all of her beauty secrets. Here, Green shares her thoughts on hair, nutrition, and nude scene prep.
ON THE PERFECT RED LIP:
I would do a red lip [on the red carpet], a flashy red lip, bada-boom. Otherwise, I’m useless. I love M.A.C or NARS pigments. Ruby Woo or Lady Danger.
I’m a vampire; I use a lot of sun cream. Skinceuticals Ultimate UV Defense is very good. The less you go in the sun the better. I moisturize with Avene. It’s a French brand that’s really good.
ON HER HAIR REGIMEN:
I wash my hair quickly. L’Oréal Absolut Repair has amazing conditioner and shampoo; it makes your hair thicker and shiny. I’m not just saying that because I’m a L’Oréal Professionnel ambassador! I dyed my hair for the first time when I was 15 and it stayed. I like dark because it makes my skin pop and it’s more me. I work with Orla Carroll for hair on shoots.
I’m becoming very LA. I drink lots of water and eat lots of green vegetables. I’m doing lots of juices at the moment. I kind of do apple, kale, carrot. I’ve got a fancy juicer. I started feeling very tired and everybody was like ‘You should try the juicing,’ but I really love it. I felt very weak. It was a revelation. And only organic fruit and vegetables. There’s so many pesticides and shit. I discovered the book by Dr. Fuhrman where he talks about juicing and eating mainly vegetables.
ON NUDE SCENE PREP:
As an actor, it’s not like a porn star. The role is not gratuitous and I kind of detach myself if I have to do a nude scene. For the sequel of 300, I did a lot of core training and that kind of work because my character was a warrior—[it needed] to be believable [that I could] kick some ass. Two or three months of training for five hours a day and I loved it. Your muscles are getting stronger. It’s like a drug almost, you feel addicted, but then on your own it’s so hard. You don’t have somebody kicking your ass every morning. I go for a run every day, I do elliptical, I do stretching. I run like 30 minutes—it’s for the head.
ON SOCIAL ANXIETY:
I’m like a cave woman. I wish I could hang out in a big social place and being very open, but I’m not like that. Being shy was a real problem in school. I don’t feel very comfortable. I have force myself to go out. At events, it’s part of the job. I see it as a game. Otherwise I’m very invisible. I prefer to float around.
“I love extremes”
Fatale in Sin City, possessed in Penny Dreadful, the actress with 50 shades of dark is now shooting the new Tim Burton film. Today, the bewitched muse of L’Oréal Professionnel dreams of comedy.
Daughter of a cinema icon of the 70’s – paragon of the sexy and cheeky French – and of a Swedish dentist, Eva Green resembles nobody else, even if she comes with a twin sister the story reveals nothing about but the name.
The chosen one, it’s her. Eva Green. Even if it may sound like a pseudonym, it isn’t one. Eva, Ève, biblical name of legendary echo and cinematographic reminiscence – Losey, Mankiewicz. Green : the green of her eyes? They’re blue, huge and particularly expressive. Back in the days of mute cinema, she would have made acarnage. Although it would have been a shame, her low voice is a treasure.
There are few experiences in modern cinema quite as intoxicating as watching Eva Green behaving badly. Whether she’s an American housewife on the verge of a nervous breakdown in White Bird in a Blizzard, or fixing those deep turquoise eyes on her oppressors in the revenge western The Salvation, or wrestling demons in the TV series Penny Dreadful, it’s impossible to tear your gaze away.
Green is an enigma, hiding in plain sight. She’s a femme fatale with as many female admirers as male ones, a Bond girl who all but ate Bond for breakfast. Her beauty is of the troubling sort that drives prim conformists mad – they’re forever wanting her to fix her teeth, go easy on the eye make-up, tone down the witchiness and look like everyone else.
Read the full article here on telegraph.co.uk.
By Katina Vangopoulos
From getting her acting start in Bertolucci film The Dreamers, Eva Green has spent the last decade on some of Hollywood’s biggest movie sets working with Ridley Scott and Robert Rodriguez to becoming a Bond girl. As her latest turn in White Bird in a Blizzard makes its debut on Blu-Ray, here’s a look at three Eva Green performances that lend to her standing as a modern femme fatale.
1. Vesper Lynd, Casino Royale
In what is arguably the best James Bond outing ever, Green is her most effective as the only woman to ever truly gain 007’s affection. Vesper Lynd is a woman torn between right or wrong as she is forced to play for both sides. But her love for Bond is real, Green able to switch from smouldering to caring with ease before breaking the action hero’s heart. As an unconventional Bond girl this not only made Green a star to be noticed, but made Casino Royale what it is – a Bond film with heart.
2. Ava Lord, Sin City: A Dame To Kill For
Frank Miller’s favourite Sin City creation came to life in a sequel nearly 10 years in the making, and Green revels in the neo-noir world of his imagining. Her turn as the dame of the title is the centrepiece of the film as she controls everyone and everything. Green is her most seductive as Ava, luring hapless men into a false sense of love and security. It’s safe to say she wasn’t too afraid to get her clothes off in the name of art either.
3. Angelique Bouchard, Dark Shadows
While the film as a whole was a bit of a jumbled effort by Tim Burton, Green is given a lot of room to ham up the femme fatale stereotype as Angelique, the witch obsessed with Johnny Depp’s Barnabas. She plays Angelique as a straightshooter with conviction, a businesswoman who knows what she wants. But her pining for Barnabas brings a lighter, near-comical side to the character, a point of difference for Green who is otherwise used to dramatic roles.
Source: Movie Mezzanine
No one can deny that 2014 is such an epic year for Eva and as we look back to the busy, crazy and hands down amazing year that has been, let us know of your favorite Eva Green moments from this year!
1) Favorite Eva Green Project of 2014
2) Favorite Eva Green Character of 2014
3) Favorite Eva Green Red Carpet Moment of 2014
4) Favorite Eva Green Quote of 2014
5) Favorite Eva Green Character Quote of 2014
Share your thoughts, choices and hopes for the coming year with other fans on the comment section. Here’s to a promising and successful 2015 for Eva! Cheers!
By Fernanda Baldioti
The star of calendar 2015, the french actress collects stuffed animals and only watch movies on plane
LONDON – At first glance, the production can cause impact: dress and red lipstick, and Louboutin sandals and a powerful make-up worthy of a diva of the cinema. But the look that Eva Green wore last Wednesday in a suite at the Ace Hotel in London, to launch the 2015 Calendar of Campari, is almost a costume, hand-picked for her to play one of the roles that is considered more difficult: to be herself.
“I hate it when, in a few photoshoots, I have to pose in front and smiling. Therefore I prefer to embody a character, with beautiful clothes, heavy makeup. It’s like an armor.” she explains, who under the lens of the prestigious German photographer Julia Fullerton-Batten gave life to the stories of twelve classic drinks that are based on traditional Italian drink .
But hiding behind her characters is not the only tactic Eva Green does to overcome shyness and flourish her best-known facet of femme fatale in movies. Considered one of the sexiest women in the cinema, the French actress, who played Bond girl Vesper Lynd in “Casino Royale” (2006), calls attention not to have stunning curves. Nor is it the kind that is making faces to test your power of conquest. Eva prefers a game of seduction less obvious, which attracts more by the atmosphere of mystery that she creates around herself, starting with the choice of enigmatic role such as the witch Serafina Pekkala in “The Golden Compass” (2007); the witch Angelique , in “Shadows of the Night” (2012), and currently the scary Vanessa Ives, in the series “Penny Dreadful”.
“The mysterious people who have secrets and are not obvious, are more attractive, more interesting. We lost the mystery in our society. With the internet, it no longer exists. I find this sad.”, she philosophizes, that makes a point of staying away from social networks: “I use my iPhone basically to exchange emails and take pictures.”
Off screen, without the typical supernatural powers of some of her characters, Eva keeps the element of suspense from day to day displaying a goth look: black clothing, smoky eyes and blond hair dyed black dramatically parted to the side. Not to mention the eccentric habits, such as a passion for taxidermy. Simply enter the living room of her house to come across some skulls and a series of stuffed animals (ranging from birds to an aurochs, an extinct species of bulls).”They find me strange because I have these things. And still think I collect art pieces. I love art, but this is a myth.” she says.
The exotic decor contrasts with the classic beauty, her soft voice and the almost demure way of the actress, who considers herself an “old lady” and not think twice before giving up a party to stay at home surrounded by friends and even alone: “I do not say lonely, but I like being myself. I am very quiet. For me, the less we say the better. I dont like to spend hours on the phone. I’m a strange animal…” she defined herself, who, however, does not dispense from an invitation to eat well. “I love food but do not have much patience for cooking. I prefer to spend my money going to good restaurants.”
The Sin City actress said there are not enough acting roles for women.
We caught up with our fav Bond girl, and Sin City siren, Eva Green to chat all things Casino Royale, loving Cate Blanchett and why she’ll never get Facebook.
She’s the smoulderingly sexy French actress we wish we could call our own, the coolest Bond girl since Pussy Galore appeared on our screens and a secret Catherine Tate obsessive. We caught up with actress Eva Green as she follows in the footsteps of Uma Thurman and Penelope Cruz as Campari’s latest calendar girl.
InStyle: You’ve played a Bond girl, three witches, an Arabian princess… what would your dream role be?
Eva: I’d love to do something with Mike Leigh, something quite raw. People have a tendency of putting me in the box of the femme fatale so I’m quite sick of that. I’ve played other roles but it seems that’s what people see me as, just hair and makeup and I wish people would see beyond that.
InStyle: Do you do funny?
Eva: Well, I was obsessed with Catherine Tate for a while… I’d love to do a comedy but it’s quite difficult to find a great one. I’d love to do a dark comedy, I like a dark sense of humour. I’d love to find the right one and be brave enough to do it.
Her magnetic allure is the key to her inscrutable sensuality. She’s gorgeous, fragile, and utterly irresistible
You needed a really special woman to irremediably break James Bond’s heart: an inscrutable woman able to convey contrasting sentiments such as fragility, determination, fear, sensuality, desperation and mystery with just a glance. That would be Eva Green, the actress who played Vesper Lynd, the great love of Daniel Craig’s 007. Hers is not a stage name, but she followed in the footsteps of her mother, the French actress Marlène Jobert. “In the beginning, my mother kept telling me not to choose this career because it is a cruel world and I’m very fragile. Perhaps I was also afraid of being compared to her, not only in terms of a mother-daughter relationship, but also on a professional level.” When you meet Eva for the first time, you are struck by her beauty and by her magnetic allure, those slightly guarded smoky eyes, dusky voice, and disarming shyness. “I know I’m vulnerable, extremely shy and insecure. I feel I can only truly express myself when I’m acting.”
Discovered by Bernardo Bertolucci, who launched her in the film The Dreamers in 2003, Eva became internationally famous with Casino Royale. It was, in a certain sense, an opportunity that turned out to be a mixed blessing. It made her one of the most famous and unforgettable Bond girls, but it also transformed her, despite herself, into the femme fatale archetype that every director wants. That is why she is twice as happy today to be the heroine of the action fantasy flick 300 – Rise of an Empire. In it, she is Artemisia, the warrior queen thirsting for revenge. It is a very virile and physical role. “I like having to handle a sword and fight like a man. What girl wouldn’t be happy to be a man for at least one day?” But that was just an interlude because Eva has gone back to being the dark, sensual, and enigmatic actress that we were accustomed to seeing on the screen. Whether it is on TV, with the series Penny Dreadful where she is Vanessa Ives, an unsettling girl from a good family possessed by evil spirits in Victorian London, or in the movies as Ava Lord, “the dame to kill for” in the next Sin City, Eva is quite the irresistible femme fatale.
Source: Vogue ItaliaBy Maria Grazia Meda, excerpt from Vogue Italia, September 2014, n. 769, p.348 Published: 09/15/2014 – 07:00
By Jason Shawhan
A Dame to Kill For is the sequel to 2005’s Sin City in the most literal way. Thematically, it’s part of a chain of adolescent, hyperviolent misogynist fantasies going back to 1980’s Heavy Metal: hard-boiled men who know the languages of violence and betrayal, and an assortment of noble virgins and streetwise whores to pepper the narrative with occasional frissons to distract from the murder and double-crossing. This is more of the same, but with one noticeable upgrade that allows co-directors Robert Rodriguez and Frank Miller to claim some of the zeitgeist.
A Dame to Kill For is a must-see because of the transcendent performance of Eva Green. Much as she did with 300: Rise of the Empire earlier this year, she steps into a digital backlot and commits wholeheartedly to whatever the film requires. She’s got a gift for elevating material that has in 2014 alone made two sequels that nobody asked for into essential summer flicks, and it’s all due to force of will and a lack of inhibitions.
She’s always been a worthwhile screen presence, but it seems like she just recently found her groove — her Showtime series, Penny Dreadful, is a gleeful and atmospheric masterpiece of horror’s grand history, and she’s racking up great notices in films that are otherwise thrown to the hounds.
Hers is a remarkable face. She has a distinctive look, one that recalls screen beauties of the Golden Age of Hollywood; you realize that Green could have been a star at any point in Hollywood history since the ’20s. She’s got a brassy, glam sensibility that calls to mind Bergman, Bacall and Hepburn, but with the devilish sense of humor (and willingness to deploy the goods) of early ‘90s Sharon Stone.
As it stands, Green and Mickey Rourke are the only cast members who seem like they could actually pull off real noir — not just the monochromatic karaoke of so much of the Sin City franchise.
The rest is mostly a muddle. A Dame to Kill For jumps around in time, trying to serve as a prequel and a sequel to the 2005 original, but there’s a specific point where at least several months pass and there is no indication given to the viewer that this has happened. As always, if you’re engrossed in a story, it wouldn’t matter. If it weren’t for Green’s dynamic energy and carnal joie de vivre — and a competently funky Lady Gaga cameo that delivers classic Marisa Tomei realness — you’d be able to pinpoint the exact moment that the film loses its bearings.
Its box-office disaster last weekend doesn’t bode well, but let’s hope this film provides the impetus for an Eva Green/Angelina Jolie buddy film where they kick all ass. I would be there opening day, and you should be too.
Source: Nashville Scene