There are moments in Palmetto, the desperately wannabe film noir, when the ambiance takes on the perfect sense of steamy decadence. My noir juices began salivating as the camera captured the lazy swinging palm frond fans in the ceiling of the bar, but even touches like that are few and far between. Palmetto is simply a preposterous concoction, a cockroach of a movie that wants to be thought of as a palmetto bug.
Woody Harrelson Harry Barber, a
deadbeat ex-reporter hanging out in the sweltering heat after a
two-year stint in prison. Barber
is ripe for the picking and gets involved in a faked kidnapping.
Boy, stuff like this sure worked better in Body Heat, Lawrence
Kasdanís juicy reworking of film noir themes. Players like
Elisabeth Shue are left to breathing out ripe lines of dialogue with
sexy innuendoes, while Harrelson canít muster enough charm to get
out of this morass called Palmetto.
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