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100A 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.
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100Directed with playful wit and energy, with steamy sex scenes played as much for laughs as anything else.
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100Legs 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.
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100A 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]
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90Pacing is on the button, and the film moves inexorably, without any flat moments, toward the suspenseful, if morally indefensible, finale.
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80A steely neo-noir thriller with a nasty comic veneer.
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80Unlike 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.
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A carefully constructed thriller whose clever dialogue keeps pace with its fascinating lead actress.
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75Director 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.
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70A 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.
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70A spirited attempt at modern film noir, and huge parts of it are enjoyable.
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70The movie has a hard forties snap to it -- lust is a weapon and love is a letdown.