70
A dark, expertly contrived display of paranoid nastiness; it's so gleefully mean that only the most tender-hearted viewer could resist going along for the ride.
What are people saying?
What are critics saying?
90
Pacing is on the button, and the film moves inexorably, without any flat moments, toward the suspenseful, if morally indefensible, finale.
70
Washington Post by Desson Thomson
A spirited attempt at modern film noir, and huge parts of it are enjoyable.
100
The New York Times by Elvis Mitchell
A devilishly entertaining crime story with a heroine who must be seen to be believed, is as satisfying an ensemble piece as “Red Rock West.” [26 October 1994, p. C13]
75
ReelViews by James Berardinelli
Director John Dahl has fun with this material, filming the modern-day noir potboiler with such gusto that it's impossible not to fall under its spell.
80
Chicago Reader by Jonathan Rosenbaum
Unlike the classic noirs, this is grounded in neither a recognizable social reality nor a metaphysical sense of doom--just a lot of sexy attitude, humping, and heavy breathing.
100
San Francisco Chronicle by Mick LaSalle
Directed with playful wit and energy, with steamy sex scenes played as much for laughs as anything else.
100
The Globe and Mail (Toronto) by Rick Groen
Legs flashing and eyes smouldering and brain scintillating, Fiorentino serves up each facet with venomous glee - it's a performance that mixes a main course of Bette Davis with a side order of La Femme Nikita, and it's mesmerizing.
100
Chicago Sun-Times by Roger Ebert
A movie that is not only ingenious and entertaining, but liberating, because we can sense the story isn't going to be twisted into conformity with some stupid formula.