Frida Kahlo (Salma Hayek) is a mischievous and sexually liberated student and aspiring painter in Mexico City when she first spies the much older prominent muralist Diego Rivera (Alfred Molina) cavorting with one of his models. Frida lives with her loving parents--Mexican mother German-Jewish father--and is intimately involved with her boyfriend. Tragedy strikes when Frida is gravely injured in a trolley crash and she never fully recovers. When her boyfriend takes off for Europe Kahlo focuses more on her paintings and boldly approaches Rivera for an honest appraisal of her work. Rivera well known for his marital infidelity and womanizing immediately recognizes Kahlo's talent and takes her under his wing as a protégée rather than a lover. An ardent Communist with a zest for socializing he introduces her to his artsy and progressive circles where Kahlo easily fits in. The pair soon become lovers and believing they have a special understanding of each other decide to marry. The union is immediately threatened when Kahlo learns that the hotheaded Lupe (Valeria Golino) one of Rivera's ex-wives occupies the apartment above theirs. After Rivera is awarded several commissions in the U.S. he and Kahlo begin their tour in New York and enjoy life as minor celebrities. Kahlo exercises her promiscuity by carrying on with one of Rivera's lovers and Rivera exercises his political intransigence with a fateful confrontation with Nelson Rockefeller (Edward Norton) who hired the artist to paint a mural in the Rockefeller Center lobby. The dust-up causes the loss of another commission and the couple returns to Mexico where they become hosts to fugitive Communist Leon Trotsky (Geoffrey Rush) and his wife. Kahlo has an affair with the legendary figure but when it threatens his marriage they move away and Trotsky is assassinated soon after. Rivera and Kahlo divorce but remarry when Rivera returns to his partner who is now impoverished and desperately ill.
The acting here is outstanding. Salma Hayek as the wild and quietly creative Kahlo is in practically every frame and dazzles in a variety of moods and situations. Alfred Molina in the more subtle role of Rivera is every bit as marvelous managing to charm and delight as a character who is essentially dissolute yet warm and lovable. Valeria Golino is another standout in the lesser role of the fiery Lupe. Geoffrey Rush makes a credible Trotsky and Ashley Judd pleases as a jovial Mexican party girl with a taste for mischief. Antonio Banderas does a neat cameo as a heated Communist and Edward Norton plays a very decent Rockefeller not shy about saying who pays the bills. Brits Roger Rees convincing as Kahlo's loving father and Saffron Burrows as Kahlo's loving diversion add heft to their supporting roles.
Julie Taymor best known for some very showy previous works like Broadway's The Lion King her feature debut Titus and a number of critically acclaimed operas proves again with Frida that she's an incomparable visual stylist. Taymor engages the eyes with a dazzling palette of Mexican colors and iconography and episodes of magical realism and mixed media invention that convey the intoxicating world of her subjects and the dramatic signature events of their lives. But Taymor (who also delivers a seductive majestic soundtrack) never loses sight of the fact that it is her beguiling characters who matter most.
New York City detective Mike Reilly (Stephen Dorff) teams up with Department of Health researcher Terry Huston (Natascha McElhone) to investigate five bizarre deaths. Before long they discover that all the victims died exactly 48 hours after visiting the Web site feardotcom.com. The site itself looks amateurish with rapid-fire images of a strange doorway screaming faces torture tools and indiscernible grainy objects. Users log on to watch a twisted doctor perform autopsies on people--while they're still alive torturing his victims until they beg to be killed. The voyeurs must then interact with a mysterious woman who asks things like "Do you want to hurt me?" She challenges users to find her within two days--or die. Those who don't find her end up suffering whatever gruesome fate they fear most and--this is the best bit--it's brought on by some sort of evil force generated through the computer. Of course curiosity gets the better of them and Mike and Terry log on to the site only to find themselves embroiled in a supernatural violent fight for their lives. If this explanation made sense that's more than we can say for the plot of feardotcom.
Dorff is well cast as Mike Reilly a brash young city police detective whose curious nature gets him into trouble. But the character is too simplistic and underdeveloped to give Dorff much to do. Although we get a little more insight into McElhone's character Terry (we know she has a cat name Benny for example) there isn't much to like or dislike about her. Dorff and McElhone's characters strike up a sort of friendship as the film progresses but there isn't much chemistry between the actors. A couple of the creepier roles in the film are much more entertaining to watch especially Stephen Rea and Michael Sarrazin. Rea plays Alistair Pratt the twisted doctor whose torture victims provide feardotcom.com's "entertainment " while Sarrazin plays Frank Sykes a drunk and washed-up author. It's a shame these two didn't have more screen time.
Director William Malone explains in the production notes for the film that feardotcom offers both a scientific and spiritual explanation for what happens in the film and that it is ultimately up to moviegoers to decide which school of thought they subscribe to. But the film's storyline is so convoluted and contradictory that it's difficult to figure out what question the film is asking let alone find the answer. Even if nothing about the story--or the philosophical questions it purports to ask--makes sense the intense look of the film is enough to keep you watching. Malone bathes the film in murky blue tones and sunlight never even trickles in. Offices are dimly lit and apartments are always dank and dilapidated. It rains day and night. The weird flashes of images presented in this setting are graphic and disturbing making feardotcom a film for the strong of heart--and stomach.