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even better as a rewatch, there is something irrepressibly appealing about the construction of this movie. the first sequence is perfection, a dance to the music in rhythm, editing and shiny, amazing details (everything is competence, but the cat? details like the cat are fantastic!)
i don't mind the bluntness of the theme one bit. i like the very first shot with her watching a movie this movie references and, face unseen for a long time, coming into focus from the blurred reflection. i don't mind that the fact that this is programmatically built as/from noir sort of gives away the twists. i even liked the car chase, though they usually bore me and though i think more than one unanswered call was overkill in hinting at what was going on in the security guy's car.
rewatching after a long enough time to forget the details, it's fun to spot what's glossed over, anticipating that the reveal will shine light there. (speaking of details, for me one of the most satisfying moments was that, in the cannes scenes, rr's character was in the frame much sooner than i first noticed her; she wasn't hidden in any way, i was just looking at the attention-grabbing snake-wearing almost naked woman because of course. and those very early scenes, where the snake lady was looking, there was the first hint of the final reveal, with the pair at the table - seen in the first run of the story, but impossible to visually identify then.)
i like de palma's style, in-your-face as it is. it's a very fun movie to watch, very stylish, so enchanting visually (including rebecca romijn who is perfectly cast) that the coherence and plausibility of the plot is secondary. poking holes through it is like poking holes through the kill bill movies: pointless.
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