ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Tayyab Torres Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Matho The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

seymourblack-1 "Final Analysis" is a moody and stylish psychological thriller in which murder, manipulation and deceit figure strongly and the numerous plot twists just keep on coming, right up to the final scene. It's also one of the most visually stunning neo-noirs ever made and in this context, the contributions of art director Dean Tavoularis and cinematographer Jordan Cronenweth are very significant and worthy of high praise.The opening credit sequence immediately makes it clear that "Final Analysis" is influenced both in its style and content by some of the great film noirs of the past (most notably "Vertigo" but also to a lesser extent "Double Indemnity" and "A Place In The Sun") and in common with these types of movies, it contains a typically gullible man, numerous double crosses and characters with unclear motives who may not be all that they seem.Dr Isaac Barr (Richard Gere) is an eminent psychiatrist who regularly acts as an expert defence witness in court cases where the accused pleads insanity in order to avoid a heavy sentence. At the same time, in his private practice, he has a patient called Diana Baylor (Uma Thurman) who is seeking his help because she's struggling to deal with some traumatic childhood memories. Diana suggests that it may help the progress of her treatment if Dr Barr could discuss some aspects of her background with her sister. Barr is initially reluctant to take up Diana's suggestion but when he subsequently meets her sister, Heather Evans (Kim Basinger), the couple soon become involved in a passionate affair.Heather is unhappily married to a sadistic gangster called Jimmy Evans (Eric Roberts) and also suffers from a condition called "pathological intoxication" which makes her become crazy and violent when she consumes even a very small amount of alcohol. When she attacks Jimmy and kills him and her medical condition is a factor, Dr Barr uses his expertise and connections to save her from the full force of the law. Unfortunately for the doctor, this success is no consolation for the trouble that he encounters when he starts to realise that he may have been set up to be the fall guy as the missing murder weapon could provide evidence of his involvement in the crime.Richard Gere is very suave and self assured as the very successful doctor who's used to being given a great deal of respect. Consistent success and respect can make those who are not vigilant develop an excess of pride and arrogance and can in turn have an adverse effect on their judgement. Dr Barr goes off the rails spectacularly when he gets involved with Heather and breaches the rules of his profession without any apparent concern.Kim Basinger and Uma Thurman are both good as the treacherous and devious sisters and Eric Roberts is especially effective as the vicious and fiercely jealous victim.This glamorous thriller is well written with some very quotable lines and is extremely easy of the eye. It's thoroughly absorbing, great fun to watch and should be regarded as essential viewing for all neo-noir fans.

johnny-08 I must say that I had high expectations about this movie because of solid cast and what it seemed interesting story in Hitchcock way. We've got ordinary man (Dr. Isaac Barr) who founds himself in strange situations and also blond female characters (both Heather and Diana). Also the end, the lighthouse, the fall of Heather Evans is a copy of Hitchcock style. I must say, after watching movie, that this is very bad movie. Beside Eric Roberts, who is always good as bad guy, all other actors are just acting it through (Gere was awful, Basinger funny when she tried to be bad and Thurman had nothing to act). Script was written on so stupid way that we've got numerous inversions but in a very predictable and dull way, so I waited finally to end. Very big disappointment for me and poor Hitchcock must be turning in his grave.

naguy (vamp-07) right from its opening credits,final analysis takes u to the mystico-glamorous era of those amazing films noirs of the 50's..the breathtaking settings,the glamorous but twisted blonde,the haunting yet chilling score echoing Bernard Hermann's Hitchcock era.the movie has a classy feel to it.sparks fly when Kim basinger makes her appearance,in a red dress a la Grace kelly.uma Thurman is very good in her role,and keeps her enigmatic facade till the end.if u're familiar with Hitchcock's Vertigo,u will find its echoes,similar settings and landmarks of san Francisco serving as background to this solid thriller.i've seen many movies of this genre,i've seen vertigo,obsession,basic instinct,and many more.this movie is UNDERRATED.it's one of the best in its genre!

mysteriesfan This movie has some promising elements. There is a premeditated murder plot with some intricacy, twists, and atmosphere. Kim Basinger is good playing a beautiful mystery woman with a troubled past and an exotic, violent illness ("pathological intoxication"). She conveys soft, placid (if overly simple) beauty one minute and psychotic rage the next, rivaling Catherine Zeta-Jones' in "Traffic" in her ability to turn memorably driven, tough, and hard-hearted on a dime.Uma Thurman looks and acts her slight part adequately enough as Basinger's delicate, spaced-out sister, a patient of Richard Gere. Paul Guilfoyle hams it up as a boorish criminal defense lawyer pal of Gere's. A police detective is tough, crude, and menacing, on cue (barking at Gere, "Don't yank my dick").But the film collapses under the weight of its many flaws. Gere is completely unconvincing as an "eminent psychiatrist." This has less to do with how he looks than how the movie presents him. He never says or does anything to credibly establish such a character. His attempts seem limited to occasionally speaking in jargon or hushed tones. He appears gullible and ignorant, as when it takes someone else's lecture to tip him off by chance to a colorful passage in Freud's work that is key to the criminal's scheme; even one of the plotters had expected Gere to be familiar with it. His supposedly joking answer to Basinger that as a psychiatrist he simply repeats, as a question, whichever last two words his patient speaks -- "'Your mother?'" -- hits a little too close to home. It is a truer description of how Gere comes across here than he thinks. Nor does the film give any background that might help explain the personal vulnerability that makes him such a dupe. The character is little more than a dim, steady facial expression and a resume.Thurman's character amounts to no more than a stagey plot gimmick. She never comes alive as a real person with a real relationship to anyone. The prosecutor is played with gruff style and no substance by Harris Yulin. He is given so little to say and do, and the character accomplishes so little, if anything, that I could not even find him listed in the credits.Even worse is the Eric Roberts character, Basinger's intense husband with mob ties. It is a tired, superficial, trying caricature that drags the movie down to the level of countless low-budget, rip-off "romantic thrillers." The unoriginal character and portrayal recall cinematic gems like "Play Murder for Me" and "Dead On" (both with Tracy Scoggins), "Tryst" (with Barbara Carrera), and probably dozens of other "abusive husband" exploitation flicks and TV show episodes (ala "Silk Stalkings").The weaknesses in the characters are only compounded by the weaknesses in the story. The plot flaws become so damaging and distracting that they sap entertainment value right out of the film. Watching the movie becomes like trying to drive a stick-shift down a road full of sink-holes (the film does feature a "ditch"). The abrupt, midstream shift in tone and pacing does not help.No explanation is ever offered for how the killer was able, in real time, to "hide" the murder weapon from the police - don't they search a crime scene? don't they have search warrants for other hiding places? And this is a plot point that drives most of the movie.We are supposed to believe that the prosecutor would proceed with a first degree murder trial not only without a murder weapon but without establishing the accused's motive, not even bothering to investigate until afterward exactly who was in line to receive a $4 million payout.We are supposed to believe that Gere can install himself on the psychiatric board responsible for evaluating the fitness for release from an institution of his own, indefinitely confined lover.We are supposed to believe -- and cheer -- that two outside professionals would arrive for an interview without introducing themselves or their reason for being there, and that another character would suddenly switch a lifelong allegiance, all so that Gere can stage an elaborate trick on someone he later acknowledges is mentally ill from childhood abuse, only apparently to arrange an even more haphazard, convoluted, and contrived manipulation later by behaving cavalierly and roughly to a patient.We are supposed to believe that murderers can walk out of mental institutions simply by switching clothes with someone else in a bathroom.We are supposed to believe that Gere would enlist a psychiatric patient to steal for him, without giving any warnings or taking any precautions to protect the young man from the vicious homicidal maniac with whom this puts him at odds (to compensate for this colossal error, the movie prematurely discloses the man's fate, creating a witness and another potential crime to prosecute and thus undercutting the suspense of whether the killer of the earlier victim will escape unpunished).We are supposed to believe, for the sake of a quick, shock-effect touch at the end, that, after two court trials had thoroughly publicized the events of the case, a character at its heart would appear to be recycling the exact same modus operandi for future use. And so on.The movie suffers badly under the relentless battering of these accumulated character and plot problems. Simply dismissing them with an air of glib pseudo-sophistication, all-knowing cynicism, empty flippancy, or lazy, unintelligent flicking of the "not helpful" button on any review honest enough to point them out is not a serious response. Nor do they simply disappear because the movie inserts some attractive visuals, such as of bridges and lighthouses, or ramps up dramatic music (somewhat frantically and mechanically, starting about halfway through). Any meaningful review has to come to terms not only with the elements of the movie that are promising and likable but with the substantial flaws that prevent it from being satisfying.