The Last Seduction

Fiorentino is ferociously committed to her femme fatale role, appraising the world around her with a wry disdain and an amused calculation. Steve Barancik's screenplay is taut, smart and finely rendered. Dahl's direction, on the other hand, seems somewhat at odds with the material. It's odd to see a rough-edge film noir lit and shot like it's an old NBC Movie of the Week.

Fiorentino's creates one of the screen's most memorable psychopaths in this heartless neo-noir. John Dahl's direction--as always--is full of intelligence and grace.

Fiorentino's great performance is the glue that holds this together. It's a really fun neo-noir setup with some silly but enjoyable twists and turns and pretty solid writing. Some parts are a bit uneven but they're not too distracting.

Gripping film and a key entry in the modern American noir genre. The playfulness with which the scenes are directed belies the cleverness and intricacy of the plot which is revealed at the very end. And Linda Fiorentino - she wasn't that prolific and was reputedly a bitch to work with, but very few actresses could do sexy ruthlessness or play the man-eater quite as brilliantly as her.

Spills over from contrived to ridiculous at times, but has such a keen self-awareness that it's a very entertaining ride all the same. Fiorentino goes balls-to-the-wall as the heavy-hitter femme fatale: she's sexy, ridiculously self-assured, and always at least two steps ahead of her marks. The distinction between noir and neo-noir is rarely so clear, as Dahl eschews noir's dark, moody tone for something tongue-in-cheek.

Mighty fine entertainment. A neo-noir with a very clever script. There's some really funny lines and inventive plotting, and then there's Bridget. In a knockout performance, Fiorentino goes for the jugular with gusto and a devious smirk. She's a ton of fun and so is the film in general. There are a few flaws... the "Wendy Kroy" thing is pretty dumb, the "Trish" subplot and twist adds nothing, and there's too much of the broad big city/small town contrast. But it's still a very enjoyable flick.

The climax was ridiculous, I just couldn't buy that part. But other than that this movie was pretty much awesome. I've never seen a more cold hearted character in a movie before. Linda Fiorentino must be pissed this was first shown on HBO thus robbing her of a well deserved Oscar. It's also well paced and well written with enough twists and turns to satisfy most audiences.

Dean Norris at 30 had serious dad-face. I was wondering if he was supposed to be the same age as his two buddies. Fiorentino knocks this out of the park, and Pullman is hamming it up. However, it is much more grounded than the typical erotic thriller of its time, although it goes off the rails with an uncomfortable ending, so it is less fun.

Fidgety, pulpy to the point of being terribly silly, and generally charmless neo-noir. Dahl still seems to be struggling and failing to reproduce whatever made "Kill Me Again" fun. I was also hoping to see more of Bill Pullman.

Fiorentino's character is so sublimely evil that you're never really sure if you're rooting for or against her. Somewhat typical twisty-turny story otherwise, but her performance is what you'll remember.

Fascinating portrait of a babe who's an engine of destruction

Another day, another erotic thriller.

i've been watching a bunch of Colombo lately and the ending here left me waiting for the shabby detective to come in and save the day. Loved bill pullman, would've been nice to see more of him

John Dahl's neo-noirs are something special. This is perfectly sleazy and it's femme fatale is a ton of fun with Fiorentino giving a wonderful performance. She dominates both Pullman and Berg in a very satisfying narrative that goes to some real dark places.

dönem itibariyle belki ama bugün eğlence sineması olarak dahi pek işlemiyor. bilindik motifler, senaryonun tanıdık virajları ve neredeyse hepten terk edilmiş toplumsal referanslar problemli kalıyor. ha biraz elden geçmiş versiyonu iyi pr ile bugün çok iş yapar, ama o bugünün popüler pozlarına dair başka bir tartışma konusu. dahl'ın yönetimi, fiorentino'nun performansı, ve sürekli "hadi hadi hadi" dercesine tuhaflıkta güzel müziği elle tutulur yanları.

The neo-noirs I've seen tend to go for the gritty and dark vibe. TLS definitely has a black streak, but it's underpinned by humor; a murder-comedy, if you will.

If you're gonna have some deplorable characters at your core, you need to have some fun. And this movie has some fun. Nothing great, but well acted and had me guessing.

I enjoyed this implausible erotic thriller because it was just so over the top: this femme fatale is on a mission and she doesn't care who she has to bring down. Everyone else is just mindless (and bland) pawns who can't resist her beguiling charms. The dark humor helps to make up for some of the camp scenes.

Amazing performance by Linda Fiorentino, and Peter Berg. Wonderful neo-noir.

A strong femme fatale role is the most notable thing about this - implausible but entertaining neonoir.

This is my kind of movie. Fine cast, smooth jazzy score, unapologetic to the max. The 1990s had some quality neo noirs.

Hard to understand how Mike falls in love. A very weak recommendation.

Yeah, she's consistent throughout, but I find this so plot focused and uninteresting character-wise outside of, "Is she really that bad?" or "Is he really that stupid?" The answers are yes and yes. Pacing is good, I wished Bill Nunn had more to do, and in the end, the movie basically amounts to, "watch out for bad girls."

This was smack in the middle of the neo-noir/erotic thriller movement of the 90s. It's more seriously handled than many of the throwaway attempts to capitalize on Basic Instinct's success, and Fiorentino is an star as one of the most pure evil femme fatales in history, right up there with the likes of Double Indemnity's Phyllis Dietrichson. Her character is interesting and she plays it absolutely perfectly. Berg and Pullman are solid as her dupes. Great film, though it gets a bit silly at times.

#00s(e)#, liked, oldies(2) }*{ #90s(m)#, story

woulda gotten a waaaayyyyy higher score were it not for the TOTAL implausibilty of her orchestrating the handjob car crash, or managing to leave an address with the emergency operator - let alone making the call in the first palce - while being "raped", and ESPECIALLY Bill Pullman looking at a map of NY and concluding that the ONLY false name LF woulda thought of spelling backwards would be "York".

Fans of *Hard Candy* should check this out--Linda Fiorentino shows how it's done.

Linda Fiorentino's phenomenal femme fatale is like a dark angel unearthing - in her deligthfully fatal path - the racist and sexual prejudices and misogynistic rape fantasies of that rotten apple Middle-America.

What starts pretty decent gets more and more predicatble till the end. Fiorentino does quite a job and the score is enjoyable but altogether this one's nothing but an alright piece of entertainment. 13/05/09

Score based on distant memory.

femme fatale, kari-koca, kaçak, Beston, Buffalo, büyük para, valiz içinde para, bar, barda tanisma, sokakta sex,cinsellik, çifte cinayet, çapraz cinayet, cinayet plani, sigorta, transeksüel es, (Kocasiyle beraber uyusturucu satisi yapan Bridgey, kocasi dustayken parayi alir ve kaçar. Chicago'ya gidecektir. Yolda Beston'da durur. Burada barda Mike ile tanisir. Mike ile birlikte olur. Kocasi Clay ise pesine dedektif takmistir. kendisine takma wendy kroy ismini takan kadin Mike'i kandirmak...

Holy shit, Linda Fiorentino! I saw some people blabbered about the soundtrack, but to me it felt compatible with Fiorentino's hyper-femme fatale and how she did not fit with the small-town.

Tão anos 1990

86.000

84.500

Solid neo-noir with ultimate femme fatale played by Fiorentino. Biggest criticisms were the bland soundtrack & cinematography which were not on the level of Dahl's direction. I then learned that it was made initially for cable which explains those issues. There are also plausibility issues which the film fast-forwards over, and Berg's character is too simple and lacks any charisma whatsoever, but all in all an enjoyable film which is perhaps too trashy to count as a proper classic of the genre.

tries to be larger than life, ends up being merely ridiculous.

Okay movie

Feel like I should probably watch it again.

Loved the whole "old-school NYC femme fatale goes to the suburbs" scenario. Bridget Gregory is one of the most interesting, ruthless and intelligent contemporary femme fatales. She has some truly inspired moments here, but the final reel plays out some really basic, small-minded scheming that disappointed as her Grand finale. But Fiorentino is remarkable and the playful vibe is delightful without going too camp.

Nothing but Linda.

According to IMDB, director John Dahl "initial saw this movie as more of a dark comedy than as a film noir." Only initially?? Despite a few noir-ish trappings, this is first and last a VERY dark comedy. And very funny, stylish one.