Tag: linda fiorentino

The Last Seduction


The Last Seduction (1994)
★★★★ / ★★★★

Bridget Gregory (Linda Fiorentino) was slapped by her husband, Clay (Bill Pullman), for calling him stupid. So, while he was in the shower, Bridget took Clay’s drug money of over five hundred thousand dollars, left New York City, changed her name to Wendy, and settled in a small town. There, she met Mike (Peter Berg), a man who was recently divorced, in a bar. Convinced that the repercussions of her recent thievery was far from over, Wendy figured that she could use Mike to get away with the money once and for all. Written by Steve Barancik and directed by John Dahl, “The Last Seduction” was a sexy, smart, and fast-paced neo-noir with an edgy main character. The film made all the men in the film look completely idiotic which had very amusing results. I didn’t think it was unfair because how many times have movies made women look like complete bimbos? It was easy to label Wendy as “evil” because she was not above committing murder to get what she wanted. I argue that if she was a man who wore dark shades and a black suit when she schemed, she would be considered as “cool.” I perceived her as a survivor with a sharp tongue. In some ways, she reminded me of myself. When Wendy met Mike and she bluntly told him that she wasn’t interested, he bragged that she was missing out because he was as hung as a horse. Instead of allowing the conversation to end, she called him over and insisted that he showed her what he was so proud of. I had a laugh because I would have done the same. She was the kind of person who liked to push the envelope and, if necessary, make someone question his self-confidence. She had her own way of getting to know a person. The dark comedy worked because two completely opposite characters took center stage. Mike liked to discuss sensitive things like feelings and have deep conversations. Wendy just wouldn’t have it. It wasn’t like she didn’t want anyone to know her. She was just rarely in the mood. When Mike confessed that he felt like a sex object, Bridget suggested that he lived it up. What I admired most about the movie was the balance between the twisted relationship and the stolen money. Fiorentino’s fiery performance allowed the two spheres to converge without resulting to painful typicalities like a shootout in the end or someone drastically changing the way he or she saw the world. In reality, people don’t really change all that much despite personal crises. The screenplay was focused in naturally allowing the characters’ behaviors to speak for themselves. I relished “The Last Seduction” because it was stripped of sentimentality. Its bravado in turning gender roles on its head was both charming and unexpectedly hilarious.

Men in Black


Men in Black (1997)
★★★ / ★★★★

The opening scene of the highly successful “Men in Black,” both in box office results and audience approval, featured a group of border patrolmen stopping a vehicle suspected of carrying aliens/illegal immigrants. Little did they know that one of the passengers was an actual alien from outer space. The first scene rightfully set the tone of the rest of the picture. There were a handful of clever and funny double entendres, one of the most notable being an alien cockroach inhabiting a human body (Vincent D’Onofrio) posing as a bug exterminator. It also had a level of irony. Enter Will Smith as an NYPD cop–eventually renamed Agent Jay–recruited by Agent Kay (Tommy Lee Jones) to be a member of the government designed to protect humanity from all things extraterrestrial. Agent Kay was serious and he spoke in a monotonous manner (perhaps his performance was influenced by a television show called “The X-Files”). Agent Jay was lively and had a penchant for cracking jokes and wielding big weapons. They were amusing in their own ways so we cared about them. Right off the bat, we felt that they had great chemistry which the film sometimes used as a crutch when it diverged its focus from the main storyline which involved the possible destruction of the human race if a certain jewel wasn’t delivered to its rightful owner. For instance, one distraction was Agent Jay’s romantic interest toward a woman (Linda Fiorentino) who worked in a morgue. However, I didn’t mind its occasional lack of focus because it was very fast-paced and it never forgot to have fun. It kept me curious. When the woman examined a dead body and she found something curious inside it, the camera did not rush to show us what she saw. The material was smart enough to let us think about the oddity. More importantly, it impressed me because “Men in Black” proved that a film about the end of the world can be both successful as a sci-fi comedy and a commercial project. Unlike Roland Emmerich’s disappointing “Independence Day,” this movie captured a sense of fun within the dangers that were unfolding before our eyes. Based on the comics by Lowell Cunningham and skillfully directed by Barry Sonnenfeld, “Men in Black” may have felt small in scope but the rewards were undeniably big. It wanted to engage its audiences instead of spoon-feeding us information. For a movie about a world inhabited with aliens, I admired that it didn’t offer interminable scenes which served to explain. It simply showed. And that may have been its main recipe for success.