Inclubabu Plot so thin, it passes unnoticed.

CommentsXp Best movie ever!

Gurlyndrobb While it doesn't offer any answers, it both thrills and makes you think.

Yash Wade Close shines in drama with strong language, adult themes.

gridoon2018 This early Kathryn Bigelow thriller is not as accomplished as her later efforts ("Point Break", made just one year later, was a big leap forward), but you can see the signs of things to come. The film is sometimes dreamy, sometimes nightmarish, and sometimes very bloody. Bigelow creates a vivid New York atmosphere, and Brad Fiedel supplies a hypnotic music score. Ron Silver is very convincing as a psychopathic serial killer, Jamie Lee Curtis' awkwardness as a cop is built into her character. However, the script, co-written by Bigelow and Eric Red, is so unbelievable (from Silver's literally overnight transformation into a killing machine to his apparent imperviousness to bullets to Curtis' superiors stubbornly refusing to believe her until it's too late) that the movie becomes unintentionally (I think) funny at times. Still worth seeing for Bigelow's stylish direction. **1/2 out of 4.

Linent Yeah, I know. This is an old movie, why write a review about it now? Well, because I just saw it and I was shocked. Kathryn Bigelow did some great stuff, which is a big reason I decided to watch it. Ditto for Ron Silver. Jamie Lee? Eh... Now, I won't lay this on our girl, here, but she plays the absolute DUMBEST cop you could ever imagine. You shoot a man and neglect to secure his weapon on the floor? You shoot him SIX times? What if he'd had an unseen partner nearby? You don't make sure that witness statements are taken before leaving the scene? A man grabs you from behind and you can't think to step on his instep hard enough to distract him? Getting into uniform - with white sneakers? Going after a dangerous killer so you handcuff your partner to the cruiser? So many more - too many to count. She, and Ms. Bigelow, made police look like idiots, and I resent that. Even rookie cops aren't this dumb.

Michael Neumann Jamie Lee Curtis joins the boys in blue and learns firsthand the perils of a man's world when her new boyfriend (Ron Silver) is revealed to be a psychotic killer with a gun fetish. It may look like any other modern cop show, but hiding underneath all the glossy imagery is a clever feminist agenda, suggesting that the only true gentleman in a jungle of male chauvinism is likely to also be an obsessed and impotent serial killer. In less insensitive hands the film might have stretched that idea beyond the voyeuristic opening credits (with its sexy shots of Curtis half dressed, fading to loving close-ups of a Smith and Wesson), but director Kathryn Bigelow and her co-writer Eric Red have enough problems simply honoring their obligations to credibility. At least three false climaxes come and go before the final, violent battle of the sexes, and the film ends in an unbelievable orgy of bloodletting more consistent with the scummy neuroses of Red's previous screen writing effort, 'The Hitcher', no doubt with a few creative pointers from co-producer (and master of sledgehammer subtlety) Oliver Stone.

MARIO GAUCI Before anyone starts including Kathryn Bigelow among the world's greatest living film-makers, it would be only fair to take a fresh (and, in my case, mostly preliminary) look at her past work; so far, only STRANGE DAYS (1995) has struck me as being worthy of some note (this was followed by her two successive efforts and I also intend to re-acquaint myself with NEAR DARK [1987], which I recall as having let me down somewhat, while her first two films are not readily available). To get to the title at hand, this easily proves her most by-the-numbers affair – which plays rather like the distaff version of DIRTY HARRY (1971) by way of FATAL ATTRACTION (1987)! Jamie Lee Curtis is quite good in the lead, a rookie cop suspended for her impulsiveness and subsequently adulated by a mysterious but clearly deranged serial killer; when she realizes who it is and, typically, it turns out to be someone too close for comfort, the heroine still cannot produce any physical evidence to nail him…so, in order to exact justice, she has to take the law into her own hands. Apart from the fact that Curtis and Ron Silver (a truly obnoxious baddie) have no chemistry, which kills the tragic potential of their relationship (though her subsequent liaison, inserted almost as an afterthought, with colleague Clancy Brown – unrecognizable from the imposing villain of HIGHLANDER [1986] – works rather better in this regard), the script includes a totally irrelevant subplot in which she has to contend with an awkward familial situation that sees her mother (Louise Fletcher) suffer repeatedly at the hands of a violence-prone husband she, i.e. Curtis, despises! Inevitably, the elaborate crowd-pleaser of an ending assumes the form of a catharsis for the heroine…but, when the level of plausibility within the entire film is about the same as that of a Tex Avery cartoon, one should not be too surprised if it fails to resonate!