The Long Kiss Goodnight (1996)
★★★ / ★★★★
With the exception of her name and the fact that she was pregnant, Samantha Caine (Geena Davis) woke up with no memory eight years prior. Doctors diagnosed her with focal retrograde amnesia, a condition where a person is unable to remember the past but has no problem making new memories. Since her rebirth, Samantha is able to get a job as a schoolteacher while raising her daughter (Yvonne Zima) as a single mother. She has even managed to meet a nice guy named Hal (Tom Amandes) with whom she is seriously considering to marry.
But after being involved in a car accident, she has begun to exhibit specific abilities she had not been aware before—like being very comfortable with a knife. It turns out that Samantha, whose real name is Charly Baltimore, is a former assassin for the United States government, now a remnant of the Cold War, and her former employer (Patrick Malahide) is intent on eliminating her.
Written by Shane Black and directed by Renny Harlin, “The Long Kiss Goodnight” starts off with great energy but with wobbly knees. The background story involving Samantha’s family in suburbia fails to capture my interest because it far too cheesy, a setup that one might catch on a two-hour television pilot that is destined to get cancelled three to five episodes later.
It does not help that we meet them during a Christmas party where everyone is required to put on a happy face. In a sense, we are not given a chance to get to know the real Hal and Caitlin, Samantha’s daughter, before the mother must leave with her private investigator, the wise-cracking Mitch Henessey (Samuel L. Jackson), in order to dig further into discovering her true identity. I was more interested in the kids’ whispers involving the fact that they know a woman who has amnesia, like the word is tantamount to someone who is insane or unsafe to be around.
On the other hand, the action scenes are glorious, some undoubtedly creative. While the picture commits a number of physics-defying sequences, I was entertained nonetheless because filmmakers do not shy away from possibly coming off silly. Due to the lack of self-consciousness in the material, it is able to gather momentum, convincing us all the more that the protagonist’s story is one that is worth seeing through.
The bad guys’ endgame feels almost inspired by comic books where the hero—in this case, heroine—must save thousands of people from death. Again, it seems like the film is actually proud in not downplaying the comedy. At times I found myself gasping out of suspense then catching the fact that the gasps had turned into laughter, almost a sigh of relief that things turn out all right in the end. Because the picture is able to get more than one type of reaction, I was able to have fun with it.
Timothy (Craig Bierko), an enemy of the state that Samantha is supposed to assassinate before she lost her memory, is an intimidating but charming villain. It is too bad the actor is not given very much to do except holler orders at his minions, offer sarcastic remarks, and use a machine gun during his most desperate times.
One of the questions that should not have gone unanswered is how Samantha ended up with amnesia in the first place. Did she hit her head while on a mission? Were drugs forced into her system during an intense torture? With a bloated running time, there is no excuse for not answering key questions, especially for a movie about missing identities. A lack of attention to detail tends to leave holes.