Boxing Helena (1993)
Boxing Helena (1993)
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Critic Reviews for Boxing Helena
It's probably just as well that last-minute dropouts Kim Basinger or Madonna didn't take the title role, as the presence of a star lurking powerlessly on the little platform no doubt would have been distracting and more laughable than it [is] now.
s. Lynch has both talent and a point. Her film is by no means the gory, exploitative quasi-pornography that it sounds like from afar.
What Lynch, who wrote the script at 19, sees as high drama is really high camp.
Fenn's slow-motion fountain-bathing scene looks like an over-the-top TV commercial, the cop-out finale is a film-school cliche, and the male characters are so one-dimensional and pathetic that the movie could inspire a Men's Action Coalition.
Audience Reviews for Boxing Helena
Okay, I know this film is horrible and I really, really need to defend myself on this one. Firs off, no. I did not like it because of its campiness (it helped, yes, but it was not the main reason that attracted me to it). I genuinely enjoyed it. Sure, the film is the kind of weird shit you avoid on a regular basis with NBC's soap operas and Julian Sands deserves the Razzie award of the century for his terrible, off-putting performance. But, and this is a great but, it still remains a Sherilyn Fenn vehicle. I mean, even though she has to sink deep down with the material, Fenn still gives a compelling and convincing performance as the titular character; Fenn has so many intriguing qualities to herself, with her beautiful face, sexy voice and the stunning way she could freeze any man with her stare. I mean, she was freaking Audrey Horne and she is definitely one of the most amazingly talented and criminally underrated actresses ever! I love this movie because it at least gives me the opportunity to see her, hear her and be in awe by her. And, surprisingly, I was not bored; the film just goes by without dragging or anything.
Strange story of obsession, domination and sexual inadequacy as well as writer-director Jennifer Chambers Lynch shoots for the same hypererotic feel that marks the films of her father, David Lynch.
Tepid tale of warped obsession plays out like half-assed DePalma fare.
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