January 26th, 2019 | Updated on February 19th, 2022
A surgeon becomes obsessed with the seductive woman he once was in an affair with. Refusing to accept that she has moved on, he amputates her limbs and holds her captive in his mansion.
A top surgeon is besotted with a beautiful woman who once ditched him. Unable to come to terms with life without her, he tries to convince her that they need each other. She has other ideas, but an horrific accident leaves her at his mercy. The plot is bizarre and perhaps sick at times, ending abruptly and with a twist.
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Movie Reviews: “Boxing Helena“
Movie Review: Associated Press
″Boxing Helena″ is going to be much-maligned, but probably for all the wrong reasons. Its uncomfortable theme of a female living torso kept as the trophy of an obsessively demented male doctor already has feminists foaming at the mouth.
But that’s not the reason this movie should be dismissed. The real reason is: ″Boxing Helena″ is a bad film – with terrible acting, cliched dialogue, a silly script, pedestrian camera work and inferior direction.
Much of the blame must be placed with director Jennifer Chambers Lynch, who also wrote the screenplay, and with those who decided to give her the money to make this movie – the producers, Carl Mazzocone and Philippe Caland (who’s responsible for the story), and executive producers James R. Schaeffer and Larry Sugar.
There’s little substance here and little focus. The movie lacks the sophistication or cleverness to be a satire or even high camp. It lacks the profound vision to be absurdist or existential. And as a thriller, it plods along like a tired old elephant.
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Movie Review: TV Guide
One of the more controversial films of 1993, BOXING HELENA became as notorious for what happened behind the scenes as what occurs onscreen. The movie itself has the curious effect of nullifying its own scandal, failing to succeed even on its own, affectedly unorthodox terms.
Dr. Nick Cavanaugh (Julian Sands) is the head surgeon at a major hospital who has survived a traumatic childhood but still suffers from psychological problems. one-night stand. She’s already written off the experience and begun a more consistent relationship with the brutish Ray (Bill Paxton), but Nick is still fixated on her; at one point he leaves his own lover, co-worker Anne (Betsy Clark), at his home cooking dinner to go spying on Helena making love
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Movie Review: ColeSmithey.com
In 2001, at the height of her powers, writer-director Catherine Breillat created a trenchant social study of familial and social prejudice set in the context of a wealthy French family whose unevenly matched female siblings vie for various rights of sexual passage.
Originally entitled “A Ma Soeur!” (“To My Sister”) the film’s inappropriate English title “Fat Girl” does this movie an injustice. This clear public relations attempt at inciting controversy with a derogatory term cheapens Breillat’s bold dramatic statements regarding budding female sexuality in the modern world, and feminist ideals at large.
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