THIS WEEKEND - The title of Ian Rothkerch's Brian De Palma article/interview over at Salon pretty much sums up the critical divide on the sometimes controversial filmmaker, whose new film, 'Femme Fatale', opened Wednesday: 'Genius? Hack? Genius?' De Palma explains: "I get some pretty staunch, diehard De Palma admirers here in the United States. There may not be as many of them, but they are indeed impassioned." Among those impassioned De Palma fans is my friend, Scott (yes, the same Scott who didn't have the courage to go up on stage and re-enact 'The Evil Dead' with Bruce Campbell (8/5) and the original cast). Scott would be among those in the "genius" camp, who spend their Friday night's going over the museum sequence from 'Dressed to Kill' like it was the Zapruder film. (And you think I'm joking.) There is indeed a loyal De Palma fan base out there, including Quentin Tarantino who, if I recall correctly, lists De Palma's 'Blow Out' as the best film of all-time, or at least among the top. Needless to say, Scott loves 'Blow Out' as well. The "hack" contingent consists of people who tend to overlook films like 'Casualties of War', 'Scarface', 'The Untouchables' and 'Carrie', and focus on his more recent films that were almost all poorly received by critics -- 'Mission To Mars', 'Snake Eyes', 'Raising Cain', 'Bonfire of the Vanities' and even 'Mission: Impossible', which created the perception that De Palma wasn't really an auteur anymore; rather, he was just another big-gun Hollywood director. The fact is, I'm just not familiar enough with De Palma's work to really weigh in. For whatever reason he has always been just off my radar. I like all four of the films I mentioned above ('Casualties', 'Scarface', etc...) and I can certainly see why movie buffs like Scott get all giddy when they watch the technical mastery displayed in films like 'Blow Out' and 'Dressed To Kill'. But when you take a film like 'Snake Eyes', for example, which opens with an impressive extended tracking shot but then devolves into a crude 'Rashomon' ripoff, it's tough for me to get too excited about De Palma's work. 'Snake Eyes' is such a case of style over substance that it's an insult to shallow people everywhere....which leads me back to his latest high-glitz affair, 'Femme Fatale,' which I will see this weekend and review for next week. The previews have me intrigued, but I doubt I would have any interest in seeing the movie if De Palma wasn't the director. That, and as contributor Sam Hallgren so gracefully put it, "There are, however, so few opportunities to see mainstream porn." So far the critical response has been harsh with Rotten Tomatoes showing only 27 fresh reviews out of 72. The opposing reactions are along the genius-hack line discussed above: "The story the movie tells is of Brian De Palma's addiction to the junk-calorie suspense tropes that have all but ruined his career," explains Owen Gleiberman in Entertainment Weekly. J. Hoberman of the Village Voice writes, "Sustains its dreamlike glide through a succession of cheesy coincidences and voluptuous cheap effects, not the least of which is Rebecca Romijn-Stamos." Probably the most glowing review comes from Roger Ebert who gives it a staggering 4 stars: "Above all, [De Palma] is up to an exercise in superb style and craftsmanship. The movie is very light on dialogue, and many of the words that are spoken come across as if the characters are imitating movie actors (the film opens with Laure watching "Double Indemnity"--for pointers in how to be a vixen, no doubt)." I'm usually not a fan of films that are merely exercises in style, superb or not, but I'm holding out hope. Maybe I can join Scott and the rest of the De Palma cult on Friday nights as we go frame-by-frame over the establishing tracking shot at the prom in 'Carrie.' I can dream. The big movie opening this weekend, however, is '8 Mile' featuring the acting debut of Eminem. I wrote about my expectations for this movie here (9/11) so I won't say much now. Judging from the reaction so far, Curtis Hanson has extended his streak of quality, critically-acclaimed movies to three, following 'L.A. Confidential' and 'Wonder Boys' with 41 positive reviews out of 55. The only "major" critic to diss it is Rex Reed of the New York Observer, and I place major in quotes because I'm convinced Red Reed is the worst critic alive. I've always wondered how legendary film critic Andrew Sarris could stand sharing duties with Rex at the Observer, though I suppose just because they write for the same paper doesn't mean they have to go for long walks together in Central Park. Starting Monday, Sam Hallgren, Eric Baker and I will be holding a Movie Club where we will exchange thoughts on '8 Mile'. Hopefully a few of you will submit your views in the Feedback Forum.

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