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 »
Keen young Raymond Avila joins the Internal Affairs Department of the Los Angeles police. He and partner Amy Wallace are soon looking closely at the activities of cop Dennis Peck whose ... See full summary »
Carly Norris is a book editor living in New York City who moves into the Sliver apartment building. In the apartment building, Carly meets two of her new neighbors, author Jack Lansford who... See full summary »
Dr. Sullivan Travis "Dr. T." is a wealthy Dallas gynecologist for some of the wealthiest women in Texas who finds his idealist life beginning to fall apart starting when his wife, Kate, ... See full summary »
Upon taking a new job, young lawyer Rick Hayes is assigned to the clemency case of Cindy Liggett, a woman convicted of first degree murder and sentenced to death. As Hayes investigates the ... See full summary »
Jesse has to get out of Las Vegas quickly, and steals a car to drive to L.A. On the way he shoots a police man. When he makes it to L.A. he stays with Monica, a girl he has only known for a... See full summary »
Richard Gere was originally considered to star opposite Sharon Stone in Basic Instinct as Detective Nick Curran but turned it down and it went to Michael Douglas same with the Wall Street role of Gordon Gekko. Both Gere and Douglas worked with Andy Garcia in Black Rain and internal affairs. See more »
The letter Vincent wrote to Olivia in his car is in different handwriting than the one shown later near the end of the film. See more »
Intersection started with a disadvantage in that it's a remake of one of my favorite films, Les Choses de la Vie. The original uses a terrible car crash (one of the best ever filmed) as a starting point for a series of flashbacks and reflections on the turning point in an architects life, when the relationship that ended his marriage is in danger of self-destructing because of his inability to make an effort. But where the accident is that film's focal point, replayed in various different ways as a kind of inescapable destiny, in Intersection it is used almost as an afterthought to bring some resolution to a mundane soap opera about an indecisive man torn between his career-conscious wife and his more liberal lover (though I wonder if that may be last-minute re-editing into a more linear structure to 'save' the film since its original release date was pushed back).
It's not a case of not giving the film a chance - there have been interesting re-workings of European films by Hollywood before - or expecting a raunchfest because of Gere or Stone's presence. It's just that it's really not very good.
The result isn't exactly unwatchable, but it is overwritten, over scored and surprisingly uncinematic. Rydell gives the film plenty of gloss but few cinematic flourishes, concentrating on the seen-it-all-before romance in a way that seems more TV movie of the week than anything worth paying to see on the big screen. Sharon Stone is superb as the ex-wife and Davidovitch does well as the lover despite some unfortunate and unnecessary scenes towards the end that undermine her character to make Gere look good - which brings me to the film's major failing. Gere's character and performance. Gere can act and has done good work, but this is an especially shallow and by-the-numbers ego trip more than a performance. Aside from being the screen's most unconvincing architect (and that includes Woody Harrelson in Indecent Proposal), the smug, self, narcissistic performance here prevents us from ever caring about whether the character lives or dies. Even the film's one nearly successful scene at a post office when he can't decide whether to post an important letter is ultimately destroyed by his hammy grandstanding phone call at the end of it.
Not that the script is any help. Scenes are overwritten, achingly obvious and horribly predictable, with everything spelled out in broad strokes. Ultimately you're just left wandering from predictable scene to predictable scene with little interest. Slick, watchable, forgettable, the final insult is that the novel and Claude Sautet film this misfire is based on is only acknowledged at the very, very end of the credits when no-one is likely to spot it. That said, the filmmakers are probably grateful not to be associated with this one...
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