Brian DePalma’s latest is steeped in his usual mythology – misogyny, double crosses, and voyeurism. Femme Fatale dips heavily into the film noirs of the 40s for inspiration, particularly Double Indemnity, a classic brew of duplicity, murder and adultery. But after a breathless first twenty minutes DePalma throws logic out the window and allows the movie to wander implausibly through Paris’s seedy underworld. Like the giant photo collage that the Antonio Banderas character constructs in his apartment, this movie feels like a collage of sexy (and or violent) scenes cobbled together to make a whole. It’s incomprehensible eye candy. Rebecca Romijn-Stamos as Laure the vampy thief who steals $10 million in jewels before taking off with another woman’s identity, however, is one of the best scoundrels to come along in a while. She’s a long legged bad girl who laughs with glee as two men beat each other up over her. She’s a nasty piece of work who really means it when she says, “I’m a bad, bad girl.” DePalma’s use of split screens and other visual tricks keeps Femme Fatale interesting to look at, making it a work-out for the eyes, but not the mind.