Stoutor It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

Nicole I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Jerrie It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

mackjay2 Diane Keaton is a charming and attractive performer, but she is not up to this role. She is visibly uncomfortable in the sleaze/sex scenes and often resorts to mannerisms familiar from her Annie Hall character (watch this film and think of Annie Hall. It's obvious she is not immersed in the Theresa character). On the other hand, Keaton does well in the scenes where she is a teacher, and is quite convincing. Despite the all-around histrionics, she is not bad in the family scenes with sister and father. But this film fails for a few reasons. It has a dark, depressive atmosphere that is not justified by its outcome: poor Theresa is damaged emotionally by her physical 'defects' and by a too-strict Catholic upbringing, this is believable. And it's believable that a person lacking self-confidence would seek out acceptance and affirmation from promiscuous sex (a fairly common scenario, actually). But the film really does seem to say that Theresa deserves her fate in the end. She blows off the one man (Atherton) who would have made sense as a partner and feels compelled to continue a descent into debauchery. Doesn't this film seem to say, keep up with this kind of lifestyle and you'll end up miserable and bitter (like Theresa's sister ) or brutally murdered? This film seems to indulge us in its sleazy world, yet it seems to judge Theresa for immersing herself in it in a vain attempt to ease her pain. Note the way director Richard Brooks chooses to end the film, on Theresa's face as the life blinks out of her--there is no requiem, no final coda expressing pity or remorse. We have been shown the brutal murder of a sympathetic character as if it were a scene from a cheap horror movie. Diane Keaton is not solely to blame for the ultimate failure of the film, the writers and director are more responsible. Still, it's hard not to imagine Keaton and Tuesday Weld exchanging roles: Weld has a much wider range as an actress and certainly would have handled the 'secret life' with more conviction.

Missyrocks Excellent film.SOME SPOILERS****** Dated because of the 70s coke & disco scene & women more newly experienced free sexuality, but still relevant. It's an emotional wallop of a film. I don't understand those who castigate it as a moralistic tale- it's the telling of a true story so this is non- fiction, people. This is mostly what happened. If you are a heroin addict, you might OD. If a woman takes home strangers, she may pay the consequence. Just fact, no fiction. And those who see it as a woman's punishment for her sexual freedom I think missed the boat here- Theresa THINKS she is being free to be herself by her going against everything her parents taught her, but in fact, she is just desperate, isolated and self- destructive. Deluding herself into believing that she is exercising individuality but embarking on a descent that's deeper and deeper with each humiliation, each meaningless, lonely night. Her work can't fulfill the void left by her physical and emotional scars. Just like her sister, she couldn't stand a man who actually really liked her or loved her. She needed rejection, humiliation, and abuse to validate her own feelings of not being worthy of it. She was not a strong heroine who used her sexuality for pleasure for herself and left a wake of men in the dust- she was the dust. The book is clearer on that than the movie. Keaton is spot on- can't imagine anyone else embodying the qualities of fragility and vulnerability yet making us feel contempt for her often at the same time. She's a top caliber actor. Everyone is wonderful in this film. And the ending- well, you just can't shake it. It's heart-stopping, literally. Berenger I believe said he had nightmares after himself. It is absolutely one of the most unforgettable endings in film. Leaves you slack- jawed in its horror.And the fact that its a true story, all the more.

frncsbrennan I watched this film again recently to see if it would give me the same impression it gave me as a teenager. I saw this movie with a group of friends when it first came out. We didn't know what to expect, but when we all came out of the theater I noticed everyone looked a bit dazed. I felt kind of numb. The ending still packs a big punch, still one of harshest and abrupt I've ever seen. I have a tendency to like happy endings, but this is still a good, well-acted movie. Keaton is great in this, and she draws you in to caring about the character, Theresa Dunn. She is a shy, caring person who teaches deaf children; unfortunately, she also has a sex addiction. Weld (Katherine) gives her best performance as the older sister who leans on and looks up to her younger sister, as her "rock of Gibraltar." In the end, the sisters reverse roles, and it is Theresa who needs help. I feel the message of this movie is to not confuse women's liberation (or any liberation) with promiscuity and addiction, which is actual slavery. The supporting cast is excellent, with both Richard Gere and Tom Berenger giving gritty performances early on in their careers.

JoeytheBrit Probably the biggest problem with this movie – other than its insistence that all men are either worthless sexual predators or pathetic, near-impotent panderers – is the fact that it has aged so badly. In an age when a small army of women under 30 seem hell-bent on doing all they can to turn their livers and septums to mush in as short a time as possible, Diane Keaton's Theresa Dunn no longer comes across as somebody out of the ordinary.Diane Keaton gives a performance that is by turns both sensitive and irritating as her character revolves around her schizophrenic lifestyle. As a child, Dunn was encased in plaster, a result of scoliosis, and it seems that this is what compels her to take so many risks in her effort to find the kind of freedom she was denied as a kid – both by her spell in traction and by a harsh, overbearing Catholic upbringing. She is full of love, as indicated by her relationship with the deaf children she teaches, but gives it in all the wrong ways, leading to encounters with equally warped characters. One of these is Richard Gere in the role that first brought him to Hollywood's attention and which serves as a kind of template for the role of Jesse in Jim McBride's ill-fated remake of Breathless. The other is Tom Berenger, a borderline psychopath tortured by his own homosexuality. Both are characters no right-thinking adult would want to get involved with, but Keaton's self-destructive personality draws her to them, and while you want her to break free from her sleazy night-life a part of you can't help thinking she's going to get what she deserves.The problem with Dunn is that she engages the viewers' sympathy in her straight persona then keeps pushing them away with her self-indulgent excesses and sometimes callous treatment of those who love her most. Combined with the relentlessly depressing atmosphere of impending tragedy that hangs over the entire film, this makes Looking for Mr. Goodbar a difficult film to enjoy (or even watch) and one to which many people wouldn't wish to return.