Single White Female (1992)

 

I am so excited to be talking about this!  I've seen this movie 50 times by now, and my dad actually owned the VHS tape. I watched this at an age when I wasn't supposed to. And boy, was I in for a surprise. Sex and Violence, oh my! This came out during the wave of the "from hell" movies that were very popular during the 90s. For Example: You have The Tenant From Hell in Pacific Heights, The Nanny From Hell in The Hand That Rocks The Cradle, the Best Friend From Hell in Posion Ivy, The Neighbor From Hell in The Crush, The Temp Worker From Hell in The Temp, The Boss From Hell in Disclosure, You even have the Paperboy From Hell in The Paperboy, and let's not forget The Boyfriend From Hell in Fear. So, yeah, these movies were inescapable back in the day and pretty much gave Lifetime a run for its money. In this case, Single White Female is the one who started it all. In this corner, we have The Roommate From Hell.

I had no idea this was based on a novel, but until recently, I finally had a chance to read it. From what I gather, the movie is only loosely based on the novel. Yes, the characters' names are the same, same location, and same scenario, but not quite as similar as the movie turned out. This plays out more like a crime novel than a full suspense novel, and it's not as intense, though it is an easy read. Not the best novel ever, but it's alright. 

Allie is a blonde in the novel, and from how she's described, she's kind of a cross between model/actress Lauren Hutton and actress Kate Vernon. Allie's boyfriend, Sam Rawson, while sympathetic in the film, is a scoundrel through and through. In fact, Allie catches Sam and Hedra (wearing a wig similar to Allie's hair) having sex in full view. Sure, you would think, oh well, he's probably mistaken for her for Allie, but no, Sam knew it was Hedra, it's just the sex was too good for him to stop it, which eventually leads to his rather brutal demise. Allie's neighbor and friend, Graham, is not gay and, in fact, was married once. He is now a waiter turned playwright who has a bit of a crush on Allie, though, unfortunately, he gets killed off-screen with a mention that Hedra might've run him over just as he was getting attention for his off-Broadway play while writing a script titled SWF Seeks Same. As for Hedra Carlson, she's much more cunning and manipulative and comes off more like the typical Femme Fatale you see in those Lifetime movie thrillers, unlike the film version where she's bumbling and doesn't think things through. The novel is a slow burn, just like the movie. It starts off with Allie receiving obscene phone calls, which turns out to be one of Hedra's kinky wanton lovers who mistaken her for Allie, of course, but just as the plot thickens in the middle portion, when Hedra frames her for Sam's murder, Allie goes on the run. This section takes up half the novel, and while it was a little exciting at first, it started to drag for a bit. Now, in this version, Allie's slimy boss Mitchell Mayfair (Myerson in the film version) doesn't die, but she does break into his apartment to steal his jewelry and his laptop when times get rough. Allie pawns Mitchell's items at a pawn shop, but the owner's suspicions begin to rise, and eventually, the police come to arrest Allie. From then on, our focus is on Hedra, who initially seems to get away with her schemes and eventually styles her hair like Allie's, but sooner or later, she gets caught once she tries to move into the same apartment. There's a minor character named Detective Kennedy who helps out with Allie's case, but he doesn't appear in the movie, which I think is for the best. With Hedra put away, Allie turns a new leaf and moves back to her home state of Illinois where she enjoys a quieter, simpler life. The End. 

This is one of the few instances where I like the movie better than the book, and I feel that the climax in the movie was much more thrilling compared to the rather dull pacing of the novel, which waned my interest far too soon. Overall, it was okay for what it was.

This was the first feature script written by TV writer Dan Roos alongside French New Wave director Barbet Schroeder. Dan Roos added a bit more character development, soap operatic twists, and horror movie elements that made the script more engaging than the book. Speaking of engaging, Director Barbet Schroeder added a certain style and tone that fit well within the erotic thriller craze. Not only is there a mysterious allure to the setting of New York, but there's also a girliness innocence, particularly with Allie and Hedie's bonding scenes. The light before the darkness. That's what I've always loved about Single White Female. It's one of those movies that starts as a drama but slowly builds into a suspense/thriller/horror type of movie. 

Now, the really interesting part is the casting of the movie. Now, don't laugh at this one. I totally respect this person, and she kills it as a dramatic actress, but the part of Allison Jones was going to be given to none other than...

Whoopi Goldberg 

Now from a business standpoint, this doesn't seem like a bad idea. Whoopi Goldberg just won an Oscar for her supporting role in Ghost, and the "From Hell" movies were riding high at the box office. But I can't help to say that this would've been a completely different movie. This was also the same year when Whoopi starred in Sister Act, a lighthearted comedy about a nightclub singer posing as a nun to avoid the mob. I would imagine that this version of Single White Female can still be a serious film, but with a hint of comedy in it. Eventually, Whoopi backed out, and with Schroeder taking over the movie, he had a different approach, which would lead more into the dark, mysterious, erotic-thriller side of things. 

It all went down to the casting of Bridget Fonda, who was, of course, the daughter of award-winning actor Peter Fonda and was also part of an acting family dynasty along with her aunt Jane Fonda. Bridget Fonda would become an award-winning actress herself, starring in either abstract art films or controversial indie films. So she would be the perfect candidate to star in an erotic thriller directed by a French New Wave director. 

I would like to take a moment to gush over the fabulous setting of the film, the historic Cody Arms. The building comes off like a character of itself and is the perfect setting for a horror movie. I would even compare it to The Bramford from Rosemary's Baby, invoking that feeling of claustrophobia and paranoia as the walls are caving in on you, where an anonymous figure can pop out and get you when you're at your most helpless. This especially works within the climax, where the suspense is at an all-time high. 

Now, on the actual movie. Before I get to our darling leading ladies, I want to get the men out of the way, although all three of the male characters do serve a purpose in the plot. 

First, we have Sam Rawson, played by the very attractive Steven Weber. Unlike the complete douchebag that he was in the novel, the movie potrays Sam in a sympathetic light. Instead of just a random hookup, the character of Lisa is now Sam's ex-wife, which explains the connection between them. Lisa apparently wanted some emotional support, which eventually led to Sam cheating on Allie.

 Slowly but surely, Allie and Sam get back together, which doesn't sit well with Hedy, who's grown attached to Allie. This causes her to do the unthinkable...

Late one night, while posing as Allie, Hedy sneaks to Sam's hotel room, climbs into bed while he's sleeping and proceeds to give him a blowjob...without his consent. When Sam wakes up, he realizes this isn't Allie that's doing this, and just as he attempts to push Hedy away, he instantly climaxes. Out of all the crimes Hedy has committed, this is probably the worst of them all. Killing a poor, innocent dog might be on the list, too, but this also counts. This is one of the few depictions of male sexual assault that's portrayed as serious. There's another movie called Thursday that also features sexual male assault, and it's not sexy or erotic at all. It's downright disturbing because the male victim is a happily married man. So, in this instance, this makes Sam a sympathetic character. Sam feels utterly violated and rightfully so. Hedy begs him to leave Allie alone, but Sam refuses and is adamant about telling Allie the truth. In a fit of rage, Hedy throws a shoe at him. And just when Sam charges at her...

Hedy stabs him in the eye with the pointy end of her stellitto. Sam has become Hedy's first murder victim...

Then there's Allie's slimebag boss Mitchell Myerson, played by character actor Stephen Tobolowsky, who also had a small role in another erotic thriller, Basic Instinct. Mitchell in the novel was a lot more tame, and that's to put it mildly. He's still a sexist, perverted asshole but he only merely propositioned Allie for sex.

However, in the film version, he almost sexually assaults her. This was also at a time when women in the workforce were going through some rather unsavory situations, such as sexual abuse. Sometimes, the woman is a willing participant, but only because she wants to reach a higher level at her job. This kind of thing still goes on, unfortunately, but unlike the year this movie was made, at least they're people speaking out about it. Allie doesn't want any of it and gives Mitchell a good punch to the balls.

After this ordeal, Hedy feels that Allie didn't get her just due and gets her to wipe out his personal accounts. Mitchell freaks the fuck out and makes a dash to Allie's apartment.

Just as Hedy blocks his way, Mitchell fights her off and actually attempts to save Allie. Though not out of virtue, more out of saving his own ass. He thinks he got the best of Hedy, but it's only his ego. Hedy eventually knocks him out and puts two bullets in his head. Mitchell becomes Hedy's second murder victim. 

Finally, we have Graham Knox played by Broadway and Television actor Peter Friedman. Graham is the typical gay best friend, but there's really nothing typical about him. He's actually quite a badass. Sure, he gets knocked out cold by Hedy, but unlike the novel, he is able to survive his attack and ends up saving the day. What makes Graham even more admirable is that he's very protective of Allie and even before shit goes down, he informs her that it might be a good time to go the authorities when it comes to Hedy's unstable behavior. So Graham becomes the ideal hero in the end. 

Now, without further ado, we have the two ladies of the hour...but first, let's talk about the iconic hairstyle that starts it all. 

As I've mentioned, Allie is a blonde in the novel, and oddly enough, Bridget Fonda is blonde along with Jennifer Jason Leigh, who is...often blonde. But I think it was the director's choice to make Allie a redhead, I guess because red stands out more, and Bridget Fonda does look more striking with the red hair, so it works for me. The hairstyle, as I would like to call it, is the Elegant bowl cut made popular by actress Demi Moore in the movie Ghost. There's a specific scene in the movie that I would like to discuss further because this hairstyle is what broke the camel's back and sets the chains of events.

Allison "Allie" Jones, played by the extraordinary Bridget Fonda, is our plucky female lead. Fonda was asked which role she could play when she was cast in the film. She chose the role of Allie because she thought it would be more difficult, but Fonda pulled it through nicely. 

She could've easily played her as this uptight yuppie type, however, Fonda was able to bring more dimension to the character. In the novel, Allie is an independent woman who holds her own. She has no living family members, not many friends, and is mainly focused on her work. There's not much of a backstory on her movie counterpart, but the screenplay softens the character. 

There's an intelligence about her in her look, style, and confidence, however, there is a sense of loneliness. The scene where she breaks down in the kitchen shows that Sam's betrayal affected her, and her search for a roommate is to fill the void in her life. Sure, she has Graham, but she yearns for more human connection. This wasn't explored in the novel and was probably more of a letdown because it was hard to connect with her character on a deeper level, yet the screenplay, along with Bridget Fonda's awesome performance, gave the character more depth. 

Now is the time to talk about what I consider one of the best villain performances of the '90s. Now present to you...

Hedra "Hedy" Carlson, played by the incredibly talented Jennifer Jason Leigh. 

In the novel, Hedy is more of a mystery with subtle hints of a turbulent home life. It's implied that her father may have sexually abused her, which explains why her targets are mostly men, and there's also mention of her staying at a mental hospital for quite some time, but not much is dwelt upon. However, the movie gives her a lengthy backstory to explain why she is the way she is. When Hedy was younger, she had a twin who died by drowning, causing her to have survivor's guilt and a heavy dose of abandonment issues. Of course, there's the age-old Hollywood trope that if a person has a mental illness, they're obviously violent, but, in due time, Hollywood has gotten a little bit better at making this trope less cliche. 

When Hedy appears, she catches Allie in a pretty, somber moment. Hedy instantly comforts Allie, and out of the interviewees, she completely wins her over. Unfortunately for Hedy, she mistakes this moment as an actual bond, though the two do become close initially. However, the movie gives off subtle hints of Hedy's obsessive nature, such as buying a pet to bring Allie closer, trying and failing to seduce Sam, and eventually...

Getting a haircut. This is the moment where shit hits the fan. This is the moment where things go down. Hedy has officially "twined" herself. Allie is, understandably, freaked out by this and contemplates kicking Hedy out, even though that was the plan when Sam came back into her life. Therefore, the desperation begins, and once Hedy gets more desperate, she becomes more violent and erratic. 

Then there's the scene where Allie follows Hedy to an S&M club. Allie is totally out of her element and wouldn't believe that the initially shy and timid Hedy would be at a club like this. However, this showcases that Allie is now stepping into Hedy's world, and it also reveals Hedy's psychosexual dark side. 

During the climax, when Allie says the line, "I'm not your sister Hedy. Not anymore. I'm like you now,"  this means that Allie shares Hedy's sense of abandonment. When Hedy forces her to write the mock suicide note, Allie is adamant that she was never that afraid, that no one will believe she wrote that, but deep down, that sense of loneliness is still there, and while writing it, Allie can confront that fear of depression and push head-on. It's not just the determination to escape from Hedy's grip but from her own internal struggles. 

I would like to talk about the amazing performance by Jennifer Jason Leigh. It's the kind of acting that's indescribable. She's vulnerable yet vicious, sweet yet scary, and I don't think any actress would pull this off but her. It's one of the most authentic portrayals of mental illness because there are times when she would say something harsh, but then instantly regret it, indicating that she might be going through some sort of pyschosis. She's not just playing the character; she understands the character. It's all right there in the performance, and Jennifer Jason Leigh does it brilliantly. I would even go so far as to say that she should've at least gotten nominated for a Golden Globe. Yes, her performance is that good. And again, shout out to Bridget Fonda for handling such a challenging role and doing an awesome job with it. 

There was an alternate ending filmed for a test audience but the reception was not well-recieved. There's not much information about this, however, I think they were going for the original ending in the book. Fatal Attraction had a similar treatment when, in the alternate ending, Alex killed herself. I found the scene to be quite poetic and haunting but apparently this didn't work with the test audience and so, the filmmakers decided to go for a typical horror movie climax where Alex attacks Dan and his wife and is ultimatley shot and killed. I guess in the alternate ending of Single White Female, Hedy actually survives but I think the test audience thought Hedy's crimes were too severe for her to survive at the end, so as mentioned before, the filmmakers went for a tradtional cat-and-mouse horror scene and, to be quite honest, I don't mind this change. First of all, the furance room is the perfect horror movie setting. The suspense sets into an adreline high as Allie and Hedy gets into a knock-out, drag-out brawl in the elevator, descending into the hellish relams of the furnace room. Just when you think Hedy has the upper hand by strangling Allie to death, her body disappears. This is when Hedy completely transforms into an all-out horror villian, slowly hunting for her prey. Then as Hedy gets distracted, Allie makes her move and stabs her from the ceiling. Therefore, Hedy's reign of terror is over and Allie tries to cope with her recent bout of tramua. 

Single White Female went on to be a cult hit as it rose up in the box office and home movie rentals. So it was inevitable that a sequel would be in the works. But the question is...how? 

This didn't happen until 13 years later. Lo and behold, we have Single White Female 2: The Psycho. Really? That's the title they came up with? As you would expect the movie is a piece of shit direct-to-video sequel: Bad wigs, bad writing, and bad acting. It pretty much follows the same beats as the first movie. Hell, even the main character is a redhead! So yeah, I've seen this on Lifetime ONCE and pretend it never happened. 

Then there's the Lifetime Movie of the Week, Single Black Female. It's a semi-remake of another movie starring former Destiny's Child member Farrah Franklin, which was basically a cheap knock-off.  It is said to be inspired by Single White Female with a dose of All About Eve. All I know is that it stars Amber Riley from Glee as the main antagonist. Haven't seen it and, to be honest, I really don't care to. This was at a time when Lifetime was on a decline, and their specialty was usually these low-budget, cheap so-called thrillers that would put Tubi to shame. Apparently, this has two more sequels, but again, I don't see myself watching this and it's not going to be anytime soon, so...yeah. 

Just recently I heard the news that there was going to be a remake of Single White Female. Yes, I said it. A remake starring Jenna Ortega. As much as I like Jenna Ortega, I'm not looking forward to it. This movie already had countless of bad sequels, rip-offs, spin-offs, and I can even argue a remake of its own.

Do you remember The Roommate? Yeah, I didn't either, but it basically follows the same plot points with the only difference is that it set in college with a few changes here and there. This is as close to remake it can get and I can't see how they would replicate the same magic that the original had. From what I've seen lately, we're getting a lot of generic remakes and I don't see how this version of Single White Female is going to be any different. A concept like Single White Female is made for the 90s, it's like lightining in a bottle and it's hard to replicate it. 

So despite all its imitators, Single White Female will always be known as the ultimate cult classic of its era. 

My Last Word: Defintely Worth Watching.

The Stepford Wives (2004)

 

So here we are. The 2004 remake of The Stepford Wives. I actually saw this in the movie theater as a kid because I was curious about how the men turn their wives into robots. Turns out, it's really fucking dumb but we'll talk about that later. I was surprised to see the star-studded cast in this movie: You have Nicole Kidman, Matthew Broderick, Bette Midler, Roger Bart, Jon Lovitz, Christopher Walken, Glenn Close, and freakin' Faith Hill who I had no idea she was in this movie. So yeah, you have a good cast, but sadly, they couldn't solve this film's problems, mostly the script, of all things. 

How I would describe this version of The Stepford Wives is that it's a Tim Burton movie, but it's not directed by Tim Burton. The actual director is Frank Oz who was a known collaborator for Jim Henson and he was one of the main voices for The Muppets, most notably Ms. Piggy. Unsurprisingly, this film went through some production hell. Originally, acting siblings John and Joan Cusack were cast as Walter and Bobbie, respectively, but they backed out of the project due to family issues. Then, when Nicole Kidman was on board, she was excited to be working with Frank Oz as she was a fan of Ms. Piggy, but when the film went into production, she, along with the rest of the cast, had some issues with Frank Oz's work ethic. The film was initially conceived as a black, emphasis on "black", comedy, but the test audience didn't like the direction the film was going, so Paramount decided to reshoot the film to give it a more cartoonish, over-the-top tone, which I didn't really care for. Anywho, let's get on with the story:

One of my issues with the film is the characterization of Joanna, played by Nicole Kidman. What I liked about Joanna in the 1975 version is that she comes off as this artsy, laid-back hippy mom type. In this version, however, she is this overly confident, ball-busting, tv executive who screws over men for her own gain. This time it bites her in the ass when a contestant in one of her tv show attempts to kill her after his wife left him for a rendezvous with some adult male stars and a famous male stripper. Yeah, this new characterization doesn't exactly make her sympathetic, which makes it hard for me to root for Joanna, considering that her husband might replace her with a robot. 

After losing her job and being blacklisted by the network, Joanna goes into a complete meltdown and is left in the care of her husband Walter played by Matthew Broderick. The difference in this version of Walter is that he's actually supportive, though there are hints of him being a pushover. Now, I do like Matthew Broderick as an actor, but I felt that he came off as "too nice" for the role. Now, Peter Matherson in the '75 version, played Walter in a way where he was fighting for his dominance, like somebody who wants to place things in order but can't quite do it, so that's when he decides to replace his wife. In the 2004 version, Walter is a henpecked husband, and once he moves his family to Stepford, he finally puts his foot down and stands up to Joanna. For me, this totally misses the point of their relationship. Walter is not the one we should be rooting for; it's Joanna. Again, this all comes down to her portrayal as this self-assertive businesswoman. They soon meet up with the head honchos of Stepford, Clare, and Mike Wellington, but I'll go into details about their characters later. Right off the bat, the house is super high-tech. You even have a refrigerator that reminds you when you run out of food and a terribly-looking CGI robot dog. Of course, Joanna is not too keen on the kitschy, saccharine town of Stepford, but eventually, she meets up with Bobbie and Roger, the only two people she considers normal. 

Bobbie Markowitz, played by Bette Midler, is now a socio-activist turned author. Bobbie's personality is much more acerbic and outspoken this time, which could be good or bad. In the 1975 version, yes, Bobbie was sarcastic at times, but she was still open, friendly, and vibrant. In this version, Bobbie is incredibly one-note, and even though I'm a fan of Bette Midler and she does have some solid jokes here, she really isn't given much to do in this film.

Roger Bannister, played by Roger Bart, fills in as the Charmaine equivalent. He is the typical gay best friend and nothing more, but there is one interesting aspect about his character. Roger is unapologetically gay, and his partner, Jerry, is deeply uncomfortable with that. Jerry is a little on the conservative side, and he feels that Roger doesn't fit the traditional masculine role he wants him to be. These are the many issues that gay men go through to this day: to prove their masculinity to a romantic partner. Hell, recently, there was this viral interview with a gay man who had to hide that he performed drag to appease his male partner. These are the many interesting ideas this film has but fails to execute. 

Kidman, Midler, and Bart do have great chemistry together...if they were in a better movie. Yes, they are fun to watch, but the trio isn't enough to save the really subpar script.

However, the Stepford Wives are portrayed much better in this version. The only minor issue with the '75 version is that the wives didn't come off weird enough to differentiate their personalities. For example, Charmaine and Bobbie are more overly excited than vacant and robotic. But in this version, they present themselves as bubbly bimbos who talk like they're in an advertising commercial, which adds to the campy tone this film is going for. Faith Hill fills in the role as the Carol Van Sant equivalent, Sarah Sunderson. Where the original was more subtle with her malfunctions, the remake has her literally shooting sparks from her neck and twitching like a wind-up toy. The filmmakers make it way too obvious, which kind of kills the mystery of the first half. Later in the movie, when Joanna puts her Nancy Drew cap on, it's discovered that the Stepford Wives were successful girl bosses who owned airline companies, ran judicial systems, and became CEOs of businesses around the globe. But once these empowered women move to Stepford, they are suddenly stripped of their agency and become beautiful hasfraus for their husbands. Seeing the change in Roger and Bobbie, Joanna finally musters up the courage to investigate the Men's Association headquarters. 

Meanwhile, Walter is fully accepted into the Men's Association and is not at all weirded out by their strange robotic housewives who serve them hand and foot. The men are portrayed as they are in the original: pathetic, schlubly, insecure, and, this time around, emasculated by their career-driven wives. That's pretty much the whole point of them turning their wives into robots, which in turn convinces Walter to change Joanna. 

When Joanna confronts the members of the Men's Association, Mike Wellington, played by the charismatic Christopher Walken, reveals himself as the Dale Coba equivalent and shows her how a Stepford is made in a cheesy how-to manual video.

                                         

I would give the scene one compliment, however. At least they pulled off the no-eyes effect this time. Not as creepy as in the first film, but I still give it a pass. Joanna tries to convince Walter that her robot double won't give her the same feelings, emotions as she, but he doesn't budge, tired of Joanna one-upping him. Slowly, Joanna and Walter descend to the experiment room as the members onimusly watch on.

Cut to the memorable grocery store scene from the original, where Joanna is now replaced by her robot double...or so it seems.

                                         

Later that night, Joanna and Walter are invited as special guests at the Wellington formal ball. Joanna makes conversation with Mike while Walter goes to fetch a drink for Clarie. But what the Wellingtons don't know is that Joanna has been pretending all along, and Walter sneaks into the experiment room to... deactivate the micro-chips that've been brainwashing the wives this whole time. Yes, I've said it. MICROCHIPS.

Do microchips turn a woman into an ATM machine? Do microchips create sparks from a woman's neck, malfunction like a robot, or make her breasts grow larger? What about the scene when Roger sees his robot double? Is there any explanation for that? Hell, there were even some deleted scenes where Bobbie malfunctions herself, her hands turning into various kitchen objects. But the scene that was attached had her hand on a burning stove. So, do the microchips prevent the Stepford Wives from feeling pain? This film has bigger plot holes than The Stepford Children. 

So the Stepford Wives are restored to their normal selves while Clare has a complete meltdown. Wait, I thought Stepford Wives aren't supposed to have emotions? hmm. Anyhow, Mike is not pleased with Walter's deception and decides to teach him a lesson. Just in the nick of time, Joanna grabs a large candlestick before Mike does the deed. She swiftly swings the candlestick over Mike's head and...

It turns out that Mike is a Stepford husband.

The real culprit is Clare Wellington, played by the brilliant Glenn Close. She is a fully realized, flesh-and-bone human woman who had a successful career as a renowned brain surgeon and genetic engineer. But her busy work schedule pushed her husband Mike into an affair with a young research assistant. 

After brutally murdering Mike and his wanton assistant, Clare gets an idea to produce a utopia where men can be "men" and women can be "women." So, she creates a robot duplicate of her husband and chooses the state of Connecticut to work on her experiments, therefore, adopting the town of Stepford. Now, there were hints early on that Clare might be human, so the film's not that clever. And although this is a solid twist, the execution sucks. However, Glenn Close really sells it in this scene, and she's one of the few shining beacons in this movie. 

With one final kiss to Mike's lips, Clare electricutes herself. As she slowly dies, Clare embraces the head of her once-deceased husband.

A few months later, Joanna, Bobbie, and Roger appear on the Larry King show to promote their projects. Joanna has won a whopping six Emmys for producing a documentary on Stepford, Roger won his State Senate seat as an independent, and Bobbie has written a poetry book. While Joanna boasts about her many accomplishments, she looks over to her husband Walter, who's watching backstage, and she personally thanks him, indicating that the marriage is stronger than ever. As for the men of Stepford, they are put on house arrest and are forced to do domestic chores. THE END.

Wow, what a freakin' mess! Although I appreciated the solid cast, the script was inconceivable. The whole twist with the microchips really ruined it for me. The filmmakers intended to make it more in line with the original, where the wives are killed and replaced by robots, which explains the Tim Burton-like tone but the test audiences felt that the light-hearted campiness of the film didn't clash well with the darker elements. I don't mind Stepford Wives being adapted into a comedy, but had it been done today, I think it would've had a much better reception. However, it would have this off-kilter, A24 feel, a little less cartoony and wacky and more subtle and surreal. 

Despite my rush of nostalgia, it's overall a forgettable movie and didn't quite stick the landing like it should. 

My last word: For curiosity's sake, it's good for one watch.