Adrian Lyne’s Fatal Attraction left me both a uneasy and appalled. Billed as a sleek, sexy psychological thriller, it showcases Michael Douglas and Glenn Close in an ugly, disturbing cautionary tale regarding adultery and lies, and although well acted it came across as really misguided to me. Keep in mind I didn’t see it way back when, I only got around to it recently to see what all the fuss is about and because I like Lyne’s other work (check out Jacob’s Ladder for an *actual* psychological thriller), so I don’t have yesteryear nostalgia for it. Michael Douglas always seems to be at the whim of women scorned, be it the calculating femme fatale (Sharon Stone in Basic Instinct), the power tripping boss (Demi Moore in Disclosure), the scheming lover (Gwyneth Paltrow in A Perfect Murder), or the hag ex wife (Kathleen Turner in War Of The Roses). Here the female character is startlingly real as opposed to archetypical caricature, splendidly portrayed by Glenn Close but… she’s stuck in the wrong narrative, a lurid, nasty exercise in cheap scares and exploitation that isn’t remotely kind to either character and has no idea what tone or outlook it wants to take. Douglas has a one night stand with her, having no idea who she is or where she comes from, which is already ill advised. Worse? He’s married, to poor Anne Archer, and has both a kid and an adorable bunny rabbit, which obviously doesn’t last long the way the film is headed. Soon after he rejects her further advances, she gets clingy, unstable and downright scary, but here’s the thing: this is obviously a girl who is very sick, as he finds out later, and not just some thinly written psycho-sexual serpent like in many of these films. How does he react? Well, instead of calling authorities or getting help as soon as one, maybe two of those red flags go up, he aggressively spurns her a second time, and has no coherence or intuition to fix the situation, plus he’s a little bitch who wants to keep his indiscretion secret at all costs. I understand that thriller guidelines dictate logic right out the window, but Close’s performance is too realistic and fascinating to be quick-sanded in such a silly, insulting story. Not to mention the fact that once the final act has rolled around, she has devolved into a rabid slasher villain and the script has ceased to care about any semblance of character at all. If the pieces fit a little better with this one, it might have worked, but as is I found myself wishing the whole time that they would ditch the ridiculous storyline and do a serious spinoff of her character. A tasteless misfire.