As you move more frontal with light, it can be allowed to be harder and still feel cosmetic. A side light or a front light, using the exact same source, is a world of difference in feel.
The Fiona Apple video had Harris Savides, ASC, mounting a MR16 spotlight right above the lens. The vignette is the natural falloff. As you come off axis with such a small source, the more it will start to look harsh. Although with a good looking model in a cool setting, it can still work very well. One of the pioneers of this flashlight look was Helmut Newton (ahead of his time in many ways) although he was often a little more off axis than some of the later photographers. Terry Richardson, Steven Klein took this look further and more front on etc.
I do it in beauty advertising all the time, but normally a little bigger sources. The smaller the source, the sharper the shadow, the more it looks like vaudeville spotlight and/or heroin chic. It doesn't always suit everything. If you're doing modern fashion, or slightly irreverent, then it's a good look. But it doesn't work for a soft skin Garnier moisturizing creme advert necessarily.
One little tip I'd share is - no matter if it's a soft or hard front light, try to place it where it creates a shadow under the chin as well as an eyelight at the top of the eye. That creates a nice shape, and it works especially well with smaller, harder sources. If you get too high, you lose the eye and have too much shadow under the chin. If you're too close to the lens, it becomes just a wash or a ring light look and you lose interest, I find. It can work sometimes, but it ends up looking like a RnB video from the 90's.
Here's a good example of a hard top front/side of Kate Moss at Portland Place in London. As I said, if you have a beautiful woman in great makeup, you can get away with anything: