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Great flick above Basic Instinct!

If you're into mind games, this is a movie treat for you. I'm glad this dvd is out so i added it to my collection. For the price i paid for this dvd, it is worth it. In this movie, Kim Basinger played a sweet & innocent but daring role into pursuing an opportunity of getting rid of her rich husband (Eric Roberts). The object of her desire is her sister (Uma Thurman) and hunk psychologist (Richard Gere) who all three gamble for deceit and manipulation. The question is, who of the three will prevail? The movie naturally ignites with heavy drama and suspense with metaphores and their meaning. This is what Richard Gere, the psychologist, needs to figure out. I just love that part when Richard Gere entraps Kim Basinger in saying "You're right about double jeopardy". I think this is the best acting role that Kim Basinger had ever pursued over all her other movies even LA Confidential, where she won Golden globe award as best actress.

Final Analysis: another awful Gere movie

Coming towards the end of the 'psycho woman on the loose' cycle that overwhelmed Hollywood in the late 80s, Final Analysis is a laughable example of the genre. Richard Gere is a totally unbelievable analyst, Kim Basinger is firmly ensconced in her paper bag, and only Eric Roberts delivers anything approaching a good performance. Another bad movie that features that most common weather event, the large scale thunderstorm in San Francisco. Ha!

Stay with this one.

Be warned: "Final Analysis" begins VERY slowly. However, the final, climatic forty minutes are what raises this from 5/10 to 7/10. Normally, I wouldn't give this type of film 7. Richard Gere is, as always, disappointing. Even in "Pretty Woman" he was only tolerated because Julia Roberts put in such a good performance nobody really took much notice of him. But Kim Basinger and Uma Thurman make up for his inadequacies with performances that rank among their best. If you thought you were in for a wham-bam-thank-you-ma'am thriller, think again. You must be in the right mood for this film, which will probably put a lot of people off. There are many comparisons to Hitchcock films, in particular "Vertigo", but these only really show through in the final three quarters of an hour, in which even the backdrops look "Hitchcockian". Of course, other viewers may simply not like the style in which the story is told. I notice that IMDb users have, on average, given this film a score in the mid-50s. That is to be expected - you'll either identify with what the director's trying to do (and in my opinion he does it quite well) or you'll not connect at all, perhaps due to the fact you were looking for a Schwarzenegger movie.

Excellent, sexy, edge-of-your-seat romantic thriller

FINAL ANALYSIS, in my opinion, is an excellent, sexy, edge-of-your-seat romantic thriller. If you ask me, the opening credits were really neat. You'll have to see the movie if you want to know why I said that. Anyway, I'll get back to critiquing this movie. I thought that Heather (Kim Basinger) was a very beautiful seductress. To me, Barr (Richard Gere) and Diana (Uma Thurman) were excellent in all their scenes together. When Jimmy (Eric Roberts) got hit in the head, I got really uncomfortable. Now, in conclusion, I highly recommend this excellent, sexy, edge-of-your seat romantic thriller to any Richard Gere or Kim Basinger fan who hasn't seen it. You're in for a good time, so go to the video store, rent it or buy it, kick back with a friend, lock the doors and windows, and watch it.

What's that noise? It's Hitchcock spinning in his grave.

A friend warned me about this film. "It's not very good" she said. What she should have said was "It's not very good, and it goes on for a long time, and Richard Gere can't change the expression on his face, and there are scenes where you say "doesn't that remind you of....?". There's not much point in discussing details, but some useful tips are revealed. (1) How do you escape from a high security prison hospital? Ans: You walk out with the visitors when they leave. (2) How do you steal/retrieve a heavy dumbbell being carried in a shopping bag by a villainess? Ans: You put her on a tram in San Francisco, with the bag dangling out, and you get in a tram going in the opposite direction, so that as the two trams pass, you just reach out and grab!! So simple. There are better ways of spending 2+ hours than watching this.

Dumb as a sack of hair

This movie is so incredibly stupid, it's hard to know where to begin. First, the acting is terrible; one might expect this from Gere and Basinger, but Uma Thurman should be embarrassed. Second, the plot is convoluted and stretches even the most suspended disbelief. Third, the ending is laughably ridiculous (which, if you need a giggle, might be a good point) -- you almost expect the killer to be hit by a deus ex machina'd bolt of lightning as Rhoda does in The Bad Seed. Last, but not least, is the oh-so-scintillating dialogue: while I wasn't looking for a Schwarzenegger movie, I got one in terms of dialogue. This gem is peppered with such inspiring lines as "Stop yanking my di*k." If you want a great thriller, rent Vertigo or The Usual Suspects. This movie seems to center around, in large part, Kim Basinger's hair. And it's just about as dumb.

Elements of Hitchcock throughout...and a lot of deja vu...

What might have been even more effective with a better script is this dark melodrama which seems to borrow heavily from past psychological melodramas--particularly those films of Hitchcock which rely on such settings as the final showdown between Gere and Basinger. Camera effects in the lighthouse spiral staircase seem to borrow from the bell tower scene in Hitch's "Vertigo". As does the use of San Francisco settings--but lacking is a score such as Bernard Herrmann supplied or a script that makes the events seem credible.Kim Basinger does well enough as the woman behind the mysterious plot but never manages to be entirely convincing when the plot calls for heavy dramatics. Richard Gere almost sleep walks through his role. But Uma Thurman and Eric Roberts deliver what can only be described as "creepy" portraits that linger in the mind after the film ends. And end it does on a bravura note with a raging thunderstorm and a return visit to the lighthouse under more dire circumstances the second time.The final scene is Thurman's big moment. But it all has the air of deja vu thanks to all those psychological thrillers of the '40s that got even better effects when filmed in glorious B&W.

Dramatic Hitchcockian suspense

This movie does start a little bit slow, but it builds up in its suspense and intensity. The way the story is told you do not even highly suspect that anything is wrong until it comes out. The plot twists and turns are enough to keep you on the edge of your seat. This is the kind of movie Alfred Hichcock would have made had he still been living in 1992. At one point the background looks like it is straight out of "Vertigo". The music score even sounds like Bernard Herrmann. This is a very entertaning suspense thriller that "The Master" would have been proud of, and I'm shure many will find entertaning.
" Final Analysis " makes for a great night' entertainment.

what's not to like?

SPOILERS:I LOVE this movie! I saw it in the theatre and through the tears I've seen it numerious times. What's not to like? Actually, if one isn't into the psychological thriller-quite a lot!! But fans of the dark thriller type movies will find a dream in this little jewel.Thurman and Bassenger play Diana and Heather two creepy sisters and Gear plays the hapless shrink who stumbles across them. This movie is dark, edgy, sinister, creepy, and-OK-maybe a bit cliché but unlike a lot of other really awful thrillers, this one doesn't need to force feed it's audience suspense, it's kind of there from the start. The three main leads are responsible for that as well as Eric Roberts who plays Kim's crazy husband. The movie has enough twists and turns to satisfy the craving of any psychological thriller junkie(like me!) and the movie doesn't let you down visually either. It's edge of your seat movie watching.I have seen this movie many a time and never cease to marvel at what fun viewing it is! Check it out! Gear, Bassenger, Thurman, rain, lighthouses and PATHOLOGICAL INTOXICATION!

Some promising elements but sinks under character and story flaws

This movie has some promising elements. There is a premeditated murder plot with some intricacy, twists, and atmosphere. Kim Basinger does a good job 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, and creates a character that rivals Catherine Zeta-Jones' in Traffic for turning on a dime into a memorably driven, tough, and hard-hearted soul.

Uma Thurman looks and acts her slight part adequately enough as Basinger's delicate, spaced-out sister, a patient of psychiatrist 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 "Don't yank" a part of his anatomy, at Gere).

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. At no point does he say or do anything that credibly establishes such a character. His attempts seem limited to occasionally speaking in jargon or hushed tones. He appears gullible and ignorant, as when it takes a lecture by someone else 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 are spoken by his patient -- "'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 homocidal 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 the heart of the case 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, as some reviews do 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.

Watch out for the secondary characters

I just watched this movie again, after having seen it twice before in 1996-97. It hasn't held up particularly well. It steals a lot from Hitchcock (the "I had the dream again" key phrase from "Rebecca", the superficial psychoanalysis from "Marnie", the setting of the climax from "Vertigo"), but Phil Joanou's direction is, for the most part, static. The two leads, Gere and Basinger, do a solid but routine job in their roles; it's the secondary characters who give this film a life of its own: Eric Roberts (an outstanding performance) as the edgy husband, Uma Thurman as the patient (whose character is the only one who remains an enigma right to the end), the detective who keeps making insinuations, Gere's colleague who gets panicky when he has to testify, etc. If nothing else, Joanou shows a talent for allowing his actors to do their stuff. (**1/2)

Some promising elements but sinks under character and story flaws

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.

Insipid Waste of Time..

Gere is just going through the motions, being the 'tool' that he is, and Basinger is a mindless mannequin. Plot? Hitchcockian? So juvenile.. an insult that any review even mentions Hitchcock in the same breath.. A spiral staircase in a lighthouse, that's not Hitch..

Stuck in between its aims.

It is one of those films that I never cared for back in the early 90s, but sifting thru the ex rentals for a pound at blockbuster I thought it was worth a purchase to revisit with older eyes. Well sadly it still fails to grab me with any urgency and still comes across as a poor mans Hitchcock movie, and one the big man probably would of discarded himself.The story works on a basic thriller level, and some decent sequences are worth the 5/10 rating that I give the film, but the film suffers for drawing out the characters far too long in the first hour, and then killing off the best character on show, I mean sure everyone loves a bad guy but here Eric Roberts villain turn is the shining light, and it leaves such a hole in the film when he departs it never manages to recover. The rest of the cast are merely average, I like Richard Gere, in fact I'm a fan, but he is going thru the motions here, whilst the solid Keith David overdoes his role and becomes annoying come the final reel. Kim Basinger looks gorgeous but struggles to put any conviction into a layered role calling for devilment ?, Uma Thurman is fresh and honest but she also gets bogged down by the maudlin writing.Nice sets, nice ending, shame about its core, 5/10.

A TASTY BASIC INSTINCT KNOCK OFF

This video came out shortly after Basic Instinct and tries to bask in it's glow... a lot of plot twists and turns, tricks on the audience and sexual tension.

But since it has R.Gere and a fresh Kim B. it still rocks.

There's some funky "NYPD Blue" type characters - Gere's atty and the Detective after his a-s.

One very clean romantic scene with Gere and Basinger and one twisted implied sex scene btw Gere and her wacko hubby - Eric Roberts.

I actually think it's a great movie. It'll put any normal girl in the mood. Lots of surprise, suspense action and romance.

The D

very good

very goo

Sub-Hitchcockian balderdash...

Richard Gere and Kim Basinger reunite from 1986's mediocre "No Mercy" for this outlandish, just-as-shallow would-be murder mystery. Occasionally enjoyable, fruity concoction concerns psychiatrist Gere becoming involved with two sexy sisters who are hoping to formulate the perfect murder plot. Lots of story twists, each one more preposterous than the last, but with a slick production and a fine climax atop a lighthouse. Gere looks a bit ill-at-ease, but Basinger and Uma Thurman are both very good. Eric Roberts is eliminated early (a plus), but Keith David flounders in the hopeless role of the detective on the sisters' trail. For viewers in the requisite silly spirit, not too bad. ** from ****

Great flick above Basic Instinct!

If you're into mind games, this is a movie treat for you. I'm glad this dvd is out so i added it to my collection. For the price i paid for this dvd, it is worth it. I only wish there were added features like a theatrical trailer and biographies of the actors. In this movie, Kim Basinger played a sweet & innocent but daring role into pursuing an opportunity of getting rid of her rich husband (Eric Roberts). The object of her desire is her sister (Uma Thurman) and hunk psychologist (Richard Gere) who all three gamble for deceit and manipulation. The question is, who of the three will prevail? The movie naturally ignites with heavy drama and suspense with metaphores and their meaning. This is what Richard Gere, the psychologist, needs to figure out. I just love that part when Richard Gere entraps Kim Basinger in saying "You're right about double jeopardy". I think this is the best acting role that Kim Basinger had ever pursued over all her other movies even LA Confidential, where she won Golden globe award as best actress.

Final Analysis-zero stars. Uma Thurman-infinite stars

Bad movie. Lame, over-the-top, cliched, dull, one-dimensional characters, formulatic Hollywood ending. I have nothing against Richard Gere nor Kim Basinger. The acting is fine. What makes this movie so bad is the script, direction and story. And oh yeah, the DVD stinks too; horrid transfer, bare-bones with zero bonus material. A bootlegged video would offer better picture and sound quality than this.


But as much as I've bashed this movie, I recommend getting it, for the sole reason of a very young (and oh my lawd, ever so sexy and gorgeous) Uma Thurman. She will make your saliva glands work a double shift. Uma is THE reason for owning this movie. Fast-forward to every scene with her and you're all set. Forget the rest.

My final analysis of Final Analysis: no stars for actual movie, 2 stars for Uma Thurman (one star for Uma and another star for Thurman). Enough said.

Lust never sleeps

***MAJOR SPOILERS*** Treating a very disturbed young woman Diana Baylor, Uma Thruman, who seemed to have developed suicidal tendencies over the abusive treatment that she received by her father when she was a little girl. San Francisco psychiatrist Dr. Isaac Barr, Richard Gere, gets a surprise visit one afternoon by Diana's older sister Heather Evens, who's such a knockout that it causes Issac to forget his client's, Diana , illness.Heather, very concerned about her kid sister, tells Issac a number of things that Diana kept from him which included the very disturbing fact that she was constantly raped by her father. That may well have been responsible for his death by Diana setting him on fire when he was laying dead drunk and out cold in bed one evening. The movie then takes a sudden turn with Issac falling in love with Heather and, as if he completely forgot about her disturbed sister, stating to treat her for psychological problems as if she were his patient not his lover!It's during Issac' treatment, and affair, with Heather that he learns that she's married to a top San Francisco mobster named jimmy Evens, Eric Roberts. Jimmy is constantly abusing her and Issac fears that he'll eventually murder Heather for not giving Jimmy the almost slave-like attention that he demands. When you finally see Jimmy in the movie you begin to realize that it's Heather, not Jimmy, who's the abusive one. Not that Jimmy isn't a cold-blooded hoodlum he never once in the brief time you see him as much as lifts his hand on the very neurotic Heather. It' Jimmy who's the one that's very concerned about Heather's drinking that causes her to black out and go wacko making a complete spectacle of herself in public; as we later see in a scene with Jimmy and Heather having dinner in a local restaurant.It's not that long after were introduced to Jimmy that we see what a real flake Heather is. We discover that it's not Diana that needs the professional psychiatric help that Iassc can provide but her sister Heather! Not only is Heather trying to involve the Innocent and unsuspecting Issac in a plan to murder Jimmy, and collect a 4 million insurance policy on him, but have Iassc framed for it and! Even more sinister Heather is using her sister Diana as bait to do it!Overly complicated psychological thriller that's saved from total ruin by the acting of it's top stars Richard Gere Uma Thruman and the very sexy, and hot as a steam engine, Kim Bassinger. There's three great scenes in the movie "Final Analysis" that are more then worth the price of admission.****SPOILER**** The first being where Heather is being questioned, with Isaac present, in the mental institution that she's committed. Thinking those asking the questions are members of the District Attorney's office and having Diana show up with the "evidence" ,that Heather planted, to frame Isaac for her husbands murder. Heather ends up getting the surprise of her life, when for some reason Diana didn't deliver the goods, where she completely changes her demeanor and loses it. Going from a calm and totally in control of the situation individual into a dangerously wild and crazy lunatic in just a matter of seconds! That scene in itself should have earned Kim Basinger an Academy Award nomination for best actress.There's an even better scene in the movie later on when Heather, changing places with Diana in prison, escapes and tries to get in touch with Det. Higgens, Keith David, in order to give him the murder weapon that she used to kill her husbands with Isaac's fingerprints on it. Only to have Issac grab the murder weapon, a steel dumbbell, before Higgins got it making it totally unless as evidence. The best part of the movie is saved for last with both Iassc and Det. Higgins, who finally realized that it was Heather not Iassc who murdered Jimmy, having it out with the the now totally crazed Heather on top of a dangerously damaged lighthouse, off the Golden Gate Bridge, during a violent and murderous downpour. That scene was as good,if not better, as anything you would see in an Alfred Hitchcock psychological thriller.