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The Worst Film Ever

Lack of good storyline.

Good story, Not enough for a whole film

A Masterpiece!

Final Analysis, is a film that really puts a spin on psychological thrillers, and it's a spin I love. Re teaming here is Gere and Basinger after that forgettable No Mercy back in 87, and Basinger here shows no mercy when killing her rich and abusive gangster husband, (Roberts). Rightly so, he deserved to die as he's a real bastard to her, even in restaurants, where he gives Gere the bad eye, for ogling her. We then meet em' in the toilet, it's a bit of an tense and unnerving moment. Gere plays a psychiatrist, and he isn't bad, as is Basinger as the murderess, where I like Thurman's enigmatic and twisted performance more. FA does take a while to move along. Be patient. Stretching out to a two hour running time, he does beautifully flow as did Jennifer 8. We more so want Robert's to die, where too, there's layers to Basinger's motives besides ridding him of his abuse. And I really liked where this went. When Gere really finds out what happened, he himself is cornered, on the account of a missing attachment to a dumbbell, which has his prints on it, a no finer moment for Basinger who says threateningly to Gere, "Don't f with me Issac". I liked the fact too, that Keith David was in this as a hardened detective who doesn't approve of Gere's prognosis's, even suggesting David should have a session, after letting a young mentally ill Latino kid, free. Gere later uses him (and I'm glad the kid didn't die) to retrieve that missing piece of dumbbell. Basinger is bloody hot in this too, where she could almost smoke up a scene anywhere. The ending is one of the most suspenseful ones I've seen in a thriller, at that light house. The photography shots are awesome, where this film is pretty awesome, but I don't want to press it. One of the best best psychological dramas of 1992.

Deliberately lurid, overwrought, and sleazy, Phil Joanou's "Final Analysis" plays best if you pretend it's a black and white psycho-sexual noir from the 1950s; the kind of pulpy B movie routinely rendered classy by guys like Fritz Lang or Alfred Hitchcock ("Rebecca", "Vertigo", "Notorious" etc).Joanou's no Hitchcock, of course, but his compositions are brilliant in the way they emphasize clean lines and geometric shapes, and the film's cinematography, by the legendary Jordan Cronenweth (Blade Runner), is also very special."Final Analysis'" plot is standard of the genre - Richard Gere plays a poor schmuck who may or may not be at the mercy of two sisters (Uma Thurman and Kim Basinger) who may or may not be femme fatales – but the film is aiming for familiarity. It then ends with a bad Hitchcockian cliffhanger, Gere literally hanging from the edge of a lighthouse. Surprisingly, the film's first half is rather restrained, played almost in whispers.7.9/10 – Classy trash, which should appeal to those craving a dose of Hitchcock. Worth one viewing.

Kind of disappointing considering the cast -- Richard Gere as the morally upright but slightly imprudent psychiatrist, Uma Thurman as his "caterpillar" patient, and Kim Basinger as Thurman's seductive older sister.To help him understand Thurman's problems, Gere seeks out Basinger and winds up making furious love to her on their first date. You ought to see them, rutting around like two sea lions in heat. If that isn't disgusting, I don't know what is. The scene's only redeeming feature is that Kim Basinger isn't particularly modest. The two were my supporting players in the tasteful and artistic "No Mercy," and I had to practically carry them through the movie. Basinger, lamentably, is married to one of those narcissistic, madly possessive Circum-Mediterranean gangsters who has muscles all over his body as well as inside his head. This is Eric Roberts in his perfect evil greaseball mode. He dominates Basinger and makes her do humiliating sexual things, which is perhaps his one good idea before she bashes his head in with one of his own dumb bells. It seems she suffers from "pathological intoxication." One sip of alcohol and she becomes violently psychotic, and she had innocently sipped some alcohol-based cough medicine just before the homicide. Gere helps her shape her defense, brings in his friend, Paul Guilfoyle, to serve as her lawyer, and she gets off with a "not guilty by reason of temporary insanity." Thereafter, it gets twisted.A little too twisted if you ask me. By the end I could hardly tell who was who or what was what.It's pretty thrilling all the way through. It's just that it doesn't make a hell of a lot of sense. Thurman's character begins in cahoots with her sister, then betrays her, then helps her escape from the funny farm, then takes over her identity and murderous quirks. Why? It would take more than a shrink to determine that. It would require a mind reader, or maybe a rabidly commercial screenwriter.It's nicely acted and the location photography is picturesque -- San Francisco at its most glorious, the Golden Gate Bridge is in every other shot.But it's cheap too. The director uses every cliché in the book regardless of whether they fit together. The climax at the top of a light house has the railing collapsing and Gere dangling over the crashing breakers -- in a howling electrical storm the likes of which Point Reyes has never seen. The fulsome orchestral score belongs to the genus Slasher.And, as I say, the plot is dizzying and at times makes no sense. Okay. Basinger is accused of murder, which she has in fact committed. The only question is whether a condition called "pathological intoxication" exists or not. The prosecution calls an expert witness, a haughty woman psychiatrist with a bony face and a foreign accent. She declares that the condition does not exist except in the minds of defense counsels. Why doesn't she believe there is any such thing? Because there is no physical evidence. It doesn't show up in brain scans or blood tests, she points out. An experienced defense attorney would have jumped all over her and asked if there were any "physical evidence" that schizophrenia exists. There isn't, but nobody can deny that the condition is real.Anyway, in a sense, it's an exciting movie and soothing too, watching cliché follow cliché while common sense flies out the window. Kind of a ritualistic experience, like listening to a meaningless but reassuringly familiar pop tune.

Gere plays a psychiatrist treating mentally unstable Uma Thurman. Basinger, Thurman's sister, approaches Gere to try and shed some light on her sister's condition and the two of them start a relationship.That's just the beginning in a rather elaborate Hitchcockian plot that is for the most part very suspenseful but rather slow moving. The well written plot takes it's sweet time getting started but once it does the film only goes uphill. Stylish director Joanou keeps the film very interesting on a visual level, many wonderful eye candy moments.The story, written by Wesley Strick, has a few unexpected twists and turns but is somehow rather predictable, especially for a seasoned thriller and murder mystery fan. All leads play their parts very straight, there's no powerhouse performance here, they're mostly very subdued with Eric Roberts the only exception, he plays a total slimeball to a tee.The finale, very reminiscent of Hitchcock's Vertigo, is a knockout, very rich in style and suspense. Final Analysis, I feel, could have been even better, but it's pretty good all the same.