GamerTab That was an excellent one.

AnhartLinkin This story has more twists and turns than a second-rate soap opera.

Taraparain Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

Justina The film never slows down or bores, plunging from one harrowing sequence to the next.

maestro7PL When a critic views a film that is different from most of the films they have to see, they often give it an undeserved rave review. That is what happened with this piece of garbage. This is one of the worst films ever made. There is not a single character that is sympathetic (and we meet quite a few), the story makes very little sense, the femme fatale has to be the most unlikable such character ever, yet she is able to make everyone do her bidding, and nobody in the film reacts as normal people do. There is absolutely no reason for Mike, the main male character that Wendy, the femme fatale, meets in a bar to love or even like Wendy, but we have to accept his behavior to accept the movie. But you can't accept his fondness for Wendy at all, especially the more he discovers about her. This movie is 2 hours that I will never get back. Don't believe the hype. Sitting in your bedroom contemplating your 4 walls is time better spent. Make no mistake--this is unadulterated crap which made me realize just how good film noirs of the 40's and 50's were. They had well-defined characters and a story worth following. This film has nothing!

SnoopyStyle Bridget Gregory (Linda Fiorentino) is a telemarketing manager running a croaked boiler room. Her husband Clay Gregory (Bill Pullman) sells stolen pharmaceuticals for a big payday. She steals his money and leaves NYC. She stops at Beston on her way to Chicago. Mike Swale (Peter Berg) is tired of small town girls. She walks into the bar and he's smitten. Her lawyer Frank Griffith (J.T. Walsh) tells her to stay put while he starts the divorce. She gets a job as Wendy Kroy but Mike happens to work at the company. Clay is desperate to pay off a loan shark and manages to track her to an area code. Then he figures out that New York backwards is Wen Kroy and sends Harlan (Bill Nunn) to find Wendy.The bar scene is terrific and it's all about Linda Fiorentino. That goes for the whole movie. Her character is a real piece. Peter Berg is a good sucker and Bill Pullman is a good sleaze. It's surprisingly funny at times. It's all attitude and Fiorentino is dripping in it. Her dialog is neo-noir and snappy. I love the dark turns and her glee with making those turns.

SheWearsAYellowSkirt This movie was fun to watch, but I couldn't help wondering what happens to Bridget after the credits started to roll, and feeling strangely frightened for her. Here's what I (sadly) imagined happens after the ending: ****SPOILER ALERT*****PLEASE DO NOT READ ANY FURTHER IF YOU LIKED THE ENDING!!!After Bridget cruises off in the stretch limousine, we jump ahead to two months later. Bridget starts to feel ill: fever and cold sweats that she can't seem to shake. She goes to the doctor, and he/she runs some tests. She finds out that she is HIV positive. She is alarmed. Shocked. Unbelieving. The doctor asks her if she has had unprotected sex in the past. She thinks back, at first remembering nothing. Then she remembers the "rape" by Mike the night she murdered her husband. She remembers the secret that Mike was briefly married to Trish, a trans woman/transvestite. Despair rises in her eyes as their conversation that first night she met Mike replays in her mind:Bridget: "How many lovers?" Mike: "Err, thirteen."(Shaking his head) "Twe...twelve." Bridget: "Any prostitutes?" Mike: "No" Bridget: "Any men?" Mike: (Vehemently) "NO!" (Turning to look her in the eye) "No Ma'am!"In anger, Bridget storms out of the doctor's office. She is resolute that she will not die alone. We see her in a quick montage having (we presume unprotected) sex with twenty men, one after another, and it is only at this moment that we see Bridget's humanity. Jump cut to some time later (months? weeks?). Bridget is relaxing on her chaise lounge in her sumptuously decorated Central Park West apartment. All calm has been restored. She looks like her usual prim, attractive self. The small smile playing across her face is all that reminds us of the secret that only she and the audience knows. Fade to black.Roll credits

Red_Identity Certainly, one can see the influence for Gone Girl in these sort of films. Linda Florentino even reminds me a lot of Rosamund Pike, in her mannerisms, her vocal clippings and style, and her sultry demeanor. The film is quite good, although not a masterpiece and not the film Gone Girl is. It has a certain appealing quality that really makes it stand apart, but I do wish the neo-noir style had gone further. As it is, it feels like it didn't utilize its complete potential, certainly not to the extent many of us would've wanted to (certainly me though). It's a good film though, unburdened by trying to pander to audiences and still finding a good way to be seductive and sexy. It's definitely recommended, for all its faults.