Film Review: Paparazzi (2004)
The tragic death of Princess Diana in 1997 left the world reeling, not only in a state of shock but also seeking a scapegoat to assign blame for this inexplicable tragedy. While inevitable conspiracy theories pointed towards the British royal family, the more convenient target was ultimately the paparazzi, tabloid photographers whose relentless pursuit of sensational images made life miserable for the world's beloved celebrities and, allegedly, posed a threat to public safety. In the wake of this scandal, paparazzi were vilified and ostracised, often placed on the same moral level as war criminals, serial killers, and child molesters. This climate of animosity was fervently exploited in Paparazzi, a 2004 action thriller directed by Paul Abascal, one of the most peculiar Hollywood offerings of its time.
The protagonist, Bo Laramie (played by Cole Hauser), is a young Hollywood actor who has recently achieved superstardom. As a result, he becomes the prime target for tabloid photographers like Rex Harper (played by Tom Sizemore), who hound him relentlessly, invading his privacy in increasingly unpleasant and humiliating manner. One such encounter between Bo and Rex ends with altercation, after Bo is falsely portrayed as the aggressor, leading to a court-mandated anger management program. Unsatisfied with the court's decision, Rex and his cohorts stage an ambush on Bo's car, resulting in a horrific car accident that leaves Bo's wife, Abby (played by Robin Tunney), and young son, Zach (played by Blake Michael Bryan), gravely injured. Despite the sympathy of detective Burton (played by Dennis Farina), who investigates the case, there is a lack of concrete evidence to implicate Rex. Bo, driven by desperation and a sense of justice, decides to take matters into his own hands, seeking revenge against Rex and his gang one by one.
To say that Paparazzi was met by hostility among critics would be an understatement. It was, however, less about the film's technical quality and more about its premise of a Hollywood star becoming a vigilante. Many critics found this notion both unrealistic and distasteful, particularly in the context of the early 21st Century. The film's portrayal of vigilantism was deemed too right-wing and "politically incorrect," with critics identifying more with the paparazzi as fellow members of the journalistic profession than with the arrogant wealthy celebrities targeted by them. Moreover, the film's production by Mel Gibson, a rare right-wing figure in Hollywood, and the recent accusations of anti-Semitism in his breakaway hit The Passion of the Christ, further contributed to the film's negative reception.
Paul Abascal, a former hairdresser, delivered solid, albeit unremarkable work as director, keeping the film short. The cast was also solid, including Cole Hauser, whose character convincingly transformed from an actor into a traditional action hero. However, the script by Forry Smith torpedoed the film's preposterous, but still intriguing, premise, first by having simple one-dimensional characterisation that made all villains irredeemably evil, in order to make Bo's otherwise questionable actions look justified. Secondly, the script missed the opportunity to turn the film into a black comedy. Even formidable character actors like Tom Sizemore were wasted in the film, and despite over-the-top acting, Rex's character was forgettable.
In an attempt to avoid controversy related to The Passion of the Christ, Gibson agreed to make the film with a PG-13 rating, which further eroded the film by toning down the violence that this old-school and potentially dark revenge tale needed. Ultimately, Paparazzi ends up as one of the most unusual but also hypocritical films, giving god-like status to celebrities and justifying their disdain for the law while attempting to criticize the negative, but manageable consequences of someone's celebrity.
RATING: 4/10 (+)
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