What makes Madonna a strong "personality" -- her chutzpah, her air of having been granted a fiat by God, her belief in her powers to numb the spectator's perception and turn ambivalence into adulation -- makes her almost useless as an actress. At least when used by a director who overindulges her. James Foley, who indulged her to the point of using one of her songs at the end of At Close Range, goes way beyond that point here. Griffin Dunne and John McMartin have a good grip on their (stereotyped) roles, as corporate yes-man and bigwig respectively -- but then they're hit by Hurricane Madonna. (1987) — Duncan Shepherd
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