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Color of Night (Director's Cut)
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30 of 33 people found the following review helpful
on August 29, 2005
Two lovers. One killer. Five suspects. Bruce Willis is a troubled psychiatrist who quits after a patient commits suicide. But when a colleague is murdered, Willis gets drawn into web of intrigue -- and into the arms of a patient (Jane March) who's also a suspect! The DVD contains 17 minutes of deleted scenes (including Willis in the buff)- That alone is worth the price of the DVD.
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33 of 37 people found the following review helpful
on November 29, 2005
I give this movie 4 stars for one reason...skin...Janes and Bruces...I have to say that each of these attractive individuals shows off more than one can chew...Miss March may not be much of an actress but she looks good naked, and while this is not Mr. Willis's finest performance, he sure had me standing at attention (good god is he hot)...anyways, the plot is good but the script was wack...would have been much much better had the script been tweaked a bit. Bruce is a great actor and I feel did what he could with what he had to work with (which wasn't much) but the sex scenes were hot and did I mention theres a lot of skin...my only dissapointment with Bruce's nudity was that his butt cheeks were whiter than white (although he still looks good and you do see a full frontal shot). No complaints about Miss March because she showed alot and was smoking hot the entire movie...noce rack sweetheart...ANyways, if you want a good movie skip this one...if you want to see to extremly hot people having gratuitus sex in a pool in a bed on a table and in a shower with male and female nudity then get this movie...
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33 of 38 people found the following review helpful
on August 12, 2001
This one is a jaw dropper and quite the cinematic cocktail. If you are expecting Vertigo or even Fatal Attraction you are hopping the wrong train. This is pure goofball entertainment. The sex scenes are fun(Thank you, Ms.March),the violence is over the top(conceptually cribbed from Italian giallo, no doubt), the dialogue is inane(beautifully so, I think), and the plot and its many twists are plenty outrageous(as in, "oh, come on...WHAT?"). Did I mention the supporting cast? All of your favorite "whatsis names" get a chance to chew the celluloid in an attempt to "out crazy" their costars(BTW, Brad Dourif wins-AGAIN). This is a delirious, trashy, Hollywood mutant of a movie surely deserving of a devoted cult all its own.
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10 of 11 people found the following review helpful
on May 25, 2002
This movie was trashed by the critics. I only saw it (at the cinema) because I needed somewhere to hide for two hours while I avoided an unpleasant social obligation. I found myself liking it, almost feeling guilty for liking it ("But I'm supposed to hate this!") It's largely cheap thrills, but I really did enjoy it. The beauty of Jane March didn't hurt ...Well, call me stupid, but I DIDN'T see the surprise ending coming.
I liked it.
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33 of 43 people found the following review helpful
on July 8, 2002
There's a good film in here somewhere just aching to get out, but the filmmakers seem more interested in playing Box Office Wheel of Fortune than caring about the quality of the product they're trying to sell, and it makes "Color of Night," directed by Richard Rush, one of those movies that makes you shake your head and think, Ah! what could have been if only! And that single "if" makes all the difference in the world with regards to what finally winds up on the screen.
When his treatment of a patient fails and ends tragically, leaving him with some pronounced psychological damage of his own, New York psychologist Dr. Bill Capa (Bruce Willis) quits his practice and goes to Los Angeles seeking the solace and, perhaps, the help of an old friend and colleague, Dr. Bob Moore (Scott Bakula). Capa quickly discovers, however, that Moore is having problems of his own, apparently stemming from a weekly group therapy session he has been conducting for some time. Moore, it seems, has recently received some death threats, which he believes are coming from one of the patients of this particular group, though he hasn't a clue which one, nor any proof of his suspicions.
Moore invites Capa to sit in on the next group session, hoping for a fresh perspective and possibly some insights into the matter. At the moment, Capa feels incapable of actively engaging in the practice of his chosen field of endeavor, but in light of the fact that he's Bob's house guest, he acquiesces and agrees to observe the group. But it proves to be an inauspicious proposition for all concerned, and subsequent circumstances quickly put Capa at the center of just the kind of situation he left New York to avoid. Once the hand is dealt, however, he has no choice but to play it out to the end.
Rush began his career as a director with low budget exploitation films like "Too Soon to Love" in 1960, and ten films later achieved legitimate status with the highly successful black comedy, "The Stunt Man" in 1980, for which he received an Oscar nomination (along with his leading man, Peter O'Toole). He did not direct again until this film, some fourteen years later, and during that hiatus, Rush apparently lost whatever expertise he had accrued by 1980, and his "roots" are clearly showing in this one. The violence of the film is inherent in the story, but Rush makes it unnecessarily graphic; and while this could have been an incisive and insightful character study (and intrinsically more interesting), he takes the low road, fleshing it out instead with scenes of gratuitous sex and nudity, as well as superfluous action (he works in no less than two ridiculous car chases, one culminating in a vehicle being pushed from the top of a high rise parking garage). Furthermore, he ignores motivations and character development almost entirely; the two areas that required the most attention if this film was going to work at all.
Rush especially lets his actors down, inasmuch as most of these characters presented real challenges that could have been met much more successfully with the help and guidance of the director. Rush would have served his actors, as well as himself, better had he taken the time to explore these people being portrayed with some depth. He apparently did not, however, and with one exception the performances by one and all suffer for it.
In 1994, Bruce Willis simply was not the accomplished actor he is today, and he, especially, could have used some help in finding his character. it was help he obviously did not get, and his Capa ends up being too much John McClane and not enough Malcom Crowe. Willis flounders between the two personalities, creating a kind of schizophrenic characterization that seriously affects the credibility of his portrayal. And it's the same fate suffered by Scott Bakula here. Even in the scenes which places them in their "professional" setting as psychoanalysts, they are simply not convincing.
Making the case of poor directing even stronger are the performances of Lesley Ann Warren (Sondra), Brad Dourif (Clark), Ruben Blades (Lt. Martinez) and Kevin J. O'Connor (Casey). Like Willis, all of them seem to have trouble defining their individual characters, vacillating between any number of personalities and unable to achieve that necessary, final focus. It's the kind of indecisiveness that is usually resolved during rehearsals, but inexplicably made it to the screen here. The single exception is the performance turned in by Lance Henriksen, as Buck, who unlike his costars, somehow managed to find his character and make him convincing.
The odd-"woman"-out of the entire bunch is Jane March, who as Rose has perhaps the most challenging role of all, and when given the opportunity actually displays some talent. Unfortunately, Rush-- for the most part-- uses her in a way that is demeaning and without merit, and she becomes the object of a sleight-of-hand that is nothing more than a cheap trick Rush pulls out of his hat. And by failing to use her in a more productive way, by not concentrating on developing her character (which is so vital to the story), Rush commits his most critical error of all.
The supporting cast includes Eriq La Salle (Detective Anderson), Jeff Corey (Ashland), Kathleen Wilhoite (Michelle), Shirley Knight (Edith Niedelmeyer), John Bower (Medical Examiner) and Andrew Lowrey (Dale Dexter). The high note of this entire project was played before it ever even got off the ground, that being the story itself; but screenwriters Matthew Chapman and Billy Ray proceeded to methodically remove any and all credibility it may have initially contained, and Rush took it from there, taking "Color of Night" straight into that black hole reserved for movies that fail to deliver on their promise. It is not surprising that Rush has not directed a feature film since this one; once the magic is lost, it's hard to retrieve.
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4 of 4 people found the following review helpful
on February 28, 2010
As a huge (and very new) Bruce Willis fan I had to watch this movie as it has gone down in history as being one of his most (in)famous roles ever. In this film Bruce is a group therapist on a quest to find a macabre killer who he suspects is a patient. Along the way he meets a trampy young girl (the very talented Jane March) that only manages to complicate matters.

The overall story and the pace of the movie (after the first 35 minutes which moved like sand in an hourglass) was very strong. I enjoyed learning about all of the members of the group. They were all a bunch of oddballs. It's hard to say which was the most screwed up or who had the most issues.

Ritchie was the most interesting to watch because although he was the youngest member of the group it was fairly apparent that he had been through something very shocking. Although she wasn't a member of the group sessions, I also thought that Bonnie added a lot to the overall story. Even though she was only in a couple of short scenes she somehow still always managed to pull the rug out from under Sondra.

The movie ends with a surprise that no one could have seen coming because even though the story built up to it the ending still managed to remain a total surprise. Bruce was just fine in this movie, however I thought that perhaps his talents were a touch overused and overstated. Perhaps he would have been better suited as the police detective.

I did think the movie was a little on the long side (over 2 hours). The love making and nudity was also rather excessive. Frankly, I do not want to see my movie stars undress because it leaves nothing to the imagination. It's also rather anticlimactic and just boring to watch. The DVD does not include anything besides the trailer. The lightening, picture quality and overall sound leaves a lot to be desired.

Overall I give this movie 4.5 stars. "Color of Night" is probably one of the best mystery style suspense movies that came out during the '90s, because unlike the gaggle of other films, this one is both creative, wonderfully directed and includes a strong supporting cast.
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10 of 12 people found the following review helpful
on October 26, 2000
It was a great mystery,and very sexy, with my favorite hunk, Bruce Willis. I have seen this movie many times. I refer it to everyone!
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7 of 8 people found the following review helpful
on June 8, 1999
Ladies, if you love Bruce Willis this is for you. For the person who said he wasn't he shape? WHAT? He looked great! I thought the movie was really good and he and Jane March made a pretty good team.
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7 of 9 people found the following review helpful
VINE VOICEon March 14, 2005
Despite the sensationalism of this film back in the 90's in remains a classic murder mystery with many twists and turns which only add to the suspense. It actually is a very well written movie and has more to offer than a few naked bodies.

It begins with a psychiatric tragedy and a psychiatrist who begins to doubt his ability after one of his patients dies. Dr. Bill Capa (Bruce Willis) heads for Los Angeles and some rest at the home of his friend Dr. Bob Moore (Scott Bakula). Within a few short days Dr. Capa's life is tossed upside down and he finds himself involved in a murder mystery, a new affair and working again with a crazy group of patients. But soon the patients begin to disappear and slowly an interesting sequence of events reveals a plot filled with all sorts of surprises.

Bruce Willis is interesting in his role as Dr. Capa; he has a bit more to do in this role than just action shots. Jane March is wonderful and maybe a bit confusing for some. Together the pair work well and manage to pull off their parts decently despite taking off their clothes quiet often as well. Lesley Ann Warren plays a great neurotic obsessed with her sexuality. Ruben Blades offers a bit of hilarity as a cop bent on solving a mystery despite the complications and Lance Henriksen, Brad Dourif and Kevin J. O'Connor round out the remaining patients each with a distinct personality disorder. Overall this picture is well cast and is capable of holding your attention in one way or another. I found the story to be very well thought out and even surprising. So depending on what your favorite color happens to be you will probably find it somehow woven into this complicated film.
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7 of 9 people found the following review helpful
on April 3, 2000
After reading some of the reviews here, I decided to give this movie a chance. I find it so ludicrous that all people were concerned with was the SEX! Why can't people look beyond that. The movie was very suspenseful (sometimes predictable). I have to agree that I had a pretty good idea of whodunnit most of the time, but it ended really well and blew me away. I would have never guessed the ending and that is the best part of a suspense thriller. I could have done without all the nudity and sexual connotations. Scott Bakula was great in his small role as he always is. I enjoy all of this work. I also enjoyed seeing Bruce Willis in something different. It seems he is always typecast.
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