I watched this movie about a decade ago, during a binge of early 90s erotic thrillers.
There is something about the look and feel of early 90s thrillers that I cannot get enough of.
Final Analysis is not a good movie.
Roger Ebert called it overstuffed.
That feels appropriate.
There is a lot of plot - so many twists and revelations that the film starts to feel like the equivalent of a car pile-up.
I can barely remember my first viewing - I remember thinking it was superficial - a collection of stylistic choices and narrative turns that felt off the rack.
On this re-watch, I can appreciate certain elements.
Basinger is effective as the villain - her wounded dove act is a little too studied; her barely surprised rage; the way she is able to coolly manipulate her sister. The last 30 minutes are ridiculous but I kinda plugged back in as a showcase for Basinger, who is having a great time as an unrepentant monster.
Uma Thurman is also good as said sibling.
Their dynamic together is wrought with tension and unspoken desire.
A cleaner narrative could have centred this relationship and let it fester.
The only other person giving the movie any juice is Eric Roberts - he is ultimately a red herring but more than Basinger, he is the most watchable part of the movie.
I am partial to Richard Gere but he is bringing nothing.
For a thriller it is not very tense.
And there are no real set-peices to speak of.
If the film deserves any technical kudos, it is for the work of late, great cinematographer Jordan Cronenworth.
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