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If you looked up the term ?eye candy? in the dictionary, chances are you?d find a still from Catwoman next to it. With no reference to its comic book origins (which hark back to Batman Issue #1 From 1940), nor the camp Batman TV show that made the feline character - and three 1960s actresses ? very famous, this ?21st century? Catwoman belongs more to the world of digital effects than any of DC?s beloved comics.You might expect that, given Catwoman is set inside the cosmetics industry and utilises the acting ?talents? of two models-turned-actresses in the lead roles (Halle Berry, the current face of Revlon, and equally famous former model Sharon Stone), that it might also trade on a heightened sense of irony? No dice. The ladies do however ?face off? in their respective roles. Berry is Patience Phillips, a shy graphic artist working for the Hedare Beauty Empire. She innocently stumbles upon a plan to addict women to toxic face cream and is duly disposed of by the corrupt powers that be. Resurrected by a bunch of magic cats, Patience reinvents herelf as Catwoman, a sexy alter ego with a penchant for couture S&M gear. Patience slugs it out with the evil glamour puss Laurel Hedare, Sharon Stone, who is clearly attempting to revisit the bitchy Basic Instinct oeuvre that made her famous. As she says, ?it is the type of character people like [me] to play?. It is fitting that the director of Catwoman goes by the single name of Pitof, given how utterly superficial, cosmetic and pretentious the film aspires to be ? and is. (Think fashion darlings Gaultier or Madonna). The effects look fake, the story and romance are moot, the digital world created could have been interesting but wasn?t, especially if compared to fellow digital artist Tarsem Singh?s The Cell (2000). While that wasn?t a great film either, its digital aesthetics were very exciting). Catwoman more resembles the cookie cutter R&B music videos that are currently flooding Saturday morning video hits programs. And while I am personally partial to an S&M outfit on screen, Catwoman?s cossie is more catwalk fodder than cool. If only the makers of Catwoman had followed the recent Josie & The Pussycats model, which was much more a satire on Western vanity, commercialism and the corporations ruling our image. Then it might have been a much better movie, and, more fun to watch.

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