Demi Moore’s Infamous ’90s Box Office Bomb (That Roger Ebert Loved) Deserved A Better Fate – SlashFilm

Throughout the 1980s, Hollywood believed Demi Moore was destined for stardom. But while she did star in some hits (“St. Elmo’s Fire,” “About Last Night”), the glamorous Brat Packer couldn’t quite break through. This changed in 1990 when she co-starred with Patrick Swayze in the surprise blockbuster “Ghost.” Suddenly, she was on the short list for numerous buzzy projects and, provided the movies were worthy of her talent, delivered. She strung together a trio of smashes with “A Few Good Men,” “Indecent Proposal,” and “Disclosure,” survived the prestige debacle that was “The Scarlet Letter,” and became the industry’s highest paid female actor after pocketing $12.5 million for 1996’s “Striptease.” And that’s when the bottom dropped out.

“Striptease” was considered a career killer, grossing $113 worldwide against a $50 million budget. The critics went hard at Moore, even though, in my opinion, she’s terrific in the unjustly maligned (and very funny) comedy. Some reviewers accused Moore of having made a vanity project, which, when they made a point of mentioning her salary (as if she’d taken Columbia Pictures for a ride), felt horribly sexist. Nevertheless, there was no undoing the bad press. All Moore could do was move on to the next project.

Some directors might’ve been leery of casting Moore after that, but Ridley Scott has never had a single solitary f*** to give. And while he was considered one of the greatest filmmakers in the world, he’d hit a rough patch with “1492: Conquest of Paradise” and “White Squall.” So, the two artists had something to prove when they collaborated on 1997’s military action-drama “G.I. Jane.” It didn’t work critically (though Roger Ebert was a fan) and flopped at the box office, but as with “Striptease,” that had little to nothing to do with the quality of Moore’s work.

“G.I. Jane” is not top-shelf Ridley Scott, but it is a bracingly effective portrayal of combat professionalism. Demi Moore stars as Lieutenant Jordan O’Neil, an accomplished Naval officer who’s recruited by the crusading Texas Senator Lillian DeHaven (Anne Bancroft) to be the first woman candidate for the U.S. Navy’s Special Operations program (essentially the SEALs). She’s selected in large part due to her appearing more feminine than the other candidates, which, at the time, felt like a tailor-made rebuttal to Moore’s critics. O’Neil’s not just another pretty face; she can hang.

“G.I. Joe” might be the best Tony Scott film Ridley ever made. It crackles with his brother’s trademark kinetic energy and features tough-guy character actors like Scott Wilson, Jason Beghe, and Kevin Gage. It also gave Viggo Mortensen (two years removed from “Crimson Tide”) one of his juiciest pre-“The Lord of the Rings” roles as the hard-charging Master Chief Jack Urgayle. But it’s Moore’s movie, and she made a meal out of it.

Moore’s portrayal of O’Neil is a physical and emotional tour de force. At every step of the way, she’s undermined (for hinky, non-sexist reasons that become clear later in the movie), but she won’t be deterred. When she does, technically, wash out, it’s only because she refuses to accept the indignity of a desk job when she’s already proven she’s one of the top recruits in her class.

Roger Ebert found Moore’s performance a stirring example of a woman who refuses to be a “poster girl” for the Navy. I agree. Moore’s never been better and should’ve been in contention for an Oscar. Instead, she received a nonsense Worst Actress nomination from the fraudulent Razzies. And this was all driven by stone cold sexism.