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Final Analysis (1992)

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A psychiatrist (Gere) has an affair with his patient's sister (Basinger) who is married to a Greek mobster (Roberts). The mobster is a tyrant over his wife. The psychiatrist wants her to ... See full summary »



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1 win & 4 nominations. See more awards »



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Cast overview, first billed only:
Mike O'Brien
Detective Huggins
Alan Lowenthal
Agustin Rodriguez ...
Pepe Carrero
Dr. Grusin
Judge Costello
Dist. Atty. Kaufman
Katherine Cortez ...
Woman Speaker
Wood Moy ...
Dr. Lee
Forensic Doctor


A psychiatrist (Gere) has an affair with his patient's sister (Basinger) who is married to a Greek mobster (Roberts). The mobster is a tyrant over his wife. The psychiatrist wants her to get a divorce, but she is afraid of what her husband would do. She has a medical condition that becomes apparent when she drinks. One night she drinks anyway and attacks her husband. The psychiatrist uses his professional pull to try and help her out of the consequences of her actions, but becomes uncertain if she is telling him the truth. Written by Ed Sutton <esutton@mindspring.com>

Plot Summary | Add Synopsis


A psychiatrist and two beautiful sisters playing the ultimate mind game. See more »


Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for a scene of strong sensuality, and for language and violence | See all certifications »

Parents Guide:





Release Date:

7 February 1992 (USA)  »

Also Known As:

Analisi finale  »

Box Office


$32,000,000 (estimated)


$28,590,665 (USA)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:



Aspect Ratio:

1.85 : 1
See  »

Did You Know?


Kim Basinger is 17 years older than Uma Thurman who plays her sister in the film, although the line "Our mother left us when we were very little" suggests their characters are much closer in age. See more »


When Heather jumps in bed with Isaac her hair is curly, but afterward is perfectly straight. See more »


[first lines]
Diana Baylor: [on psychiatrist's couch] I had the dream again. I'm arranging flowers, on a table, for a center piece. I decorate the flower pot with fancy paper. Feels like velvet. There are three different kinds of flowers. There are lilies, and there are... by the way, did you reach my sister?
See more »


Referenced in Class Act (1992) See more »

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User Reviews

Richard Gere falls for femme fatale Kim Basinger
5 March 2016 | by (United States) – See all my reviews

Six years after "No Mercy" (1986), Richard Gere and Kim Basinger teamed up again in the neo-noir "Final Analysis" (1992). In common, they have twisted and/or flawed characters who are morally dubious. However, this neo-noir differs from "No Mercy" by relying much more on plot complexity, the femme fatale, double crosses, love triangles, and psychological issues. It has much less dark photography. "Final Analysis" draws from the Hitchcock lode too, both in music and large-scale climactic scene. Where "No Mercy" has a more or less standard closing sequence, "Final Analysis" doesn't stop until it has exhausted every possible plot twist, no matter how difficult to explain.

Richard Gere abandons psychiatric ethics, knowingly, when Kim Basinger shows up, she being the sister of his patient, Uma Thurman. Basinger's attractiveness and vulnerability make this completely understandable, but so also does Gere's success and comfort in his position. It doesn't faze him that a gangster, Eric Roberts, is her husband. He takes this as a challenge he can meet. The results of his attachment go far beyond what he expects.

I am glad I watched this with subtitles. There are quite a few whispered lines, especially from Basinger, that otherwise would have been unintelligible to me and perhaps some others.

The aspects of the film that were derivative of Hitchcock hurt its overall impact, although perhaps not its entertainment value. If the direction had kept to the neo-noir tone throughout, rather than going into a bombastic thriller mode, it would have made a more effective and stronger whole, in my opinion, one that would have outlasted its day. The thriller mode tended to make the film more superficial. Hitchcock in his films overcame superficiality by having more detailed, focused, insightful and talkative scripts. The script here glides around too many plot points to be really strong.

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