When a promised job for Texan Michael fails to materialise in Wyoming, Mike is mistaken by Wayne to be the hitman he hired to kill his unfaithful wife, Suzanne. Mike takes full advantage of... See full summary »
Lara Flynn Boyle
A bright assistant D.A. investigates a gruesome hatchet murder and hides a clue he found at the crime scene. Under professional threats and an attempt on his life, he goes on heartbroken because evidence point to the woman he still loves.
In Los Angeles, after a violent drug rip-off, the Los Angeles Police Department detectives find the identity of the trio - the sadistic I.Q. of 150 and college graduate Lenny "Pluto" ... See full summary »
Billy Bob Thornton,
Unsuccessfully framed for his wife's murder, Dr. David Krane attempts to find the real culprit by utilizing a new drug that allows him to experience the memories of other people first-hand.... See full summary »
Bridget Gregory has a lot going for her: she's beautiful, she's intelligent, she's married to a doctor. But all of this isn't enough, as her husband Clay finds out. After she persuaded him to sell medicinal cocaine to some drugdealers, she takes off with the money, almost a million dollars, and goes undercover in a mid-American smalltown. Because Clay has to pay off a loan shark who'll otherwise damage him severely, he keeps sending detectives after her, trying to retrieve the money. When Bridget meets Mike Swale, a naive local who is blinded by her beauty and directness, she devises an elaborate, almost diabolical scheme to get rid of Clay once and for all. Written by
Peter Zweers <firstname.lastname@example.org>
According to an interview with screenwriter Steve Barancik in Creative Screenwriting, ITC Entertainment executives thought The Last Seduction (1994) would be a typical "Skin-e-max" movie popular on premium cable channels. One executive was upset when he viewed a scene in which Linda Fiorentino wore only a pair of suspenders instead of being completely topless. When viewing the dailies of the scene, the executive asked, "Are we making an art movie?!" He demanded that the scene be cut and made the principal cast and crew pledge that they had no "artistic pretensions." See more »
Just before Bridget sees the fuel gauge is empty, she is smoking. After cutting to the close-up of the gauge and then back to Bridget, her cigarette has disappeared. See more »
What? Did you leave your dick in Buffalo?
Chris, these women are anchors.
Here he goes again.
How many guys in this bar have felt her up?
All of them.
Right. And how many have gone home with her, how many guys have slept with her?
None, including yourself.
Right, I rest my case.
Don't rest it too long, 'cause I promise you it will fall off.
See more »
I think that this movie is more in European movie-making style than most of its other Hollywood movies from the same genre. It has a different way of storytelling, different more straight-forward characters and dialogs and of course sex and nudity. I think that director John Dahl feels more at ease with directing movies more in an European kind of style than in the typical Hollywood-style. It's maybe also the reason why none of his movies ever became a commercial success, though his movies definitely have quality.
Nevertheless, for a genre movie this movie was just lacking too much to consider it a completely successful one. For too long the story just moves on and happens without a clear indication at what the direction the movie is heading to. Maybe I was just expecting the movie to be more fun. The movie is now more of a serious crime/thriller with some slight comical undertones, that are mostly notable in some of its characters. But nevertheless, I feel that it's a big miss that they didn't made the movie any more fun by for instance adding some more plot lines, with different characters, all trying to hunt down Bridget Gregory/Wendy Kroy, for whatever reason.
Now instead there isn't always enough happening and developing in the movie. It doesn't make the movie the most tense, exciting or even most original one out of its genre.
The story on its own is quite good and interesting, in which a manipulative, beautiful, intelligent woman is trying to trick a man in killing her husband, of whom she has stolen close to a million dollar of him. It's interesting to see the manipulative and intelligent woman at work, by throwing in her looks and sexual-abilities, to get what she wants. It's a real femme fatale.
It really helps the movie that it has such as fine, strong, leading femme fatale, played by Linda Fiorentino, who definitely fits the role. It's not necessarily her acting but its more her character that makes the movie work out. It's sort of suiting for the '90's, when lots of strong female character-roles arose. The other roles in this movie are limited down too much to my regret. Bill Pullman is good in this movie but he basically is only in the beginning and end of the movie. J.T. Walsh gets also extremely underused in a way too small role, that seemed like a fun one with more potential to it.
This movie also seriously made me think about something. The movie made me realize that the '90's just wasn't the decade for movies, when it comes down to style. I'm talking about visual style but also definitely about the costumes and hair. It's all pretty bleach and style-less, especially the early '90's, if you compare it to any other random decade of movie-making. But oh well, who knows. maybe in 50 years from now people shall praise this movie for having a typical great '90's style!
Good enough movie but just not the must-see I heard it was.
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