Oh -- the big weakness. Alright. As they say, "Even paranoids have enemies." And in this case, Mulroney's beliefs about Dennis Hopper's writing a scandalous number on the family were evidently correct. Hopper was collecting secret information in the form of gossip and so forth. Stoltz is a successful reporter who begins nosing into the case and finding that, yes, maybe Mulroney was right. But where was Hopper getting his dish from? Jennifer Connelly confesses that it was she who was Hopper's informant. She seduces Stoltz and more or less coerces him into destroying all of his evidence about the case. Having succeeded in quashing the story Stoltz was pursuing, she abandons Stoltz.
The holes in the reasoning gape before us. If she wanted the true story quashed, why did she inform on the family in the first place? The question undermines the entire plot. Almost as bad: Stoltz has quit his job at the paper, and the job has been taken over by Macy. In the last scene, she taunts Macy by revealing her half-naked body to him from a soft-pornly curtained window, and Macy moves toward the building with an expression of what is presumably supposed to be deep desire. Da spider iss spinnink her wep fawh anodder unvary fly! But -- WHY? The scandalous story is now kaput. She should have no interest in Stoltz's replacement at the paper, nor he in her -- he knows practically nothing about Stoltz' work.
The performances and the moody atmosphere are enough to carry this film over the abbysal gaps in the plot, but they provide pretty shaky support.