As likeable as it is incoherent, Jade oozes style and steaminess. David Caruso’s assistant district attorney, searching for the killer of a businessman, finds himself delving into a world of kink, prostitution and power, in which Linda Fiorentino, his former lover, is embroiled.
William Friedkin’s attraction to the taboo is at home in the world of the erotic thriller, but as enjoyable as Jade is, it’s a film you watch with one eye on its substantial problems. It’s a film in which everything is done for effect, and damn the consequences – especially the final twist, which turns the film’s sexual liberation and power dynamics on their head, for no good reason. Still, it’s a film we were both happy to watch twice, and as superficial as it may be, that surface is highly polished and glossy.
We catch up on home media with an erotic thriller that, while it fails to titillate, offers a fascinating portrayal of totalitarianism, sexuality, control and ownership of the female body and the way power is expressed through it, revenge, and more. Jennifer Lawrence stars as a ballet dancer forced into working for the state as a honeypot, tasked with seducing Joel Edgerton’s CIA operative for the purpose of smoking out his mole.
We are in agreement on the extravagant thrill of the opening, and the electifying darkness of the sex school’s complex dynamics and brutal methods. Mike is less interested in what occurs when the action moves into the field, and holds out hope for an ambitious (and insane) conclusion; José, more realistic, expounds on why the film’s developments should be interesting enough for Mike as they are. The plot grows convoluted, the visual design less expressive, but ultimately we love what Red Sparrow offers and wish we’d caught it when it was at the cinema.
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