Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

AnhartLinkin This story has more twists and turns than a second-rate soap opera.

Iseerphia All that we are seeing on the screen is happening with real people, real action sequences in the background, forcing the eye to watch as if we were there.

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

FountainPen Dreadful flick from all aspects. I had to lagh at seeing a review rating it 9/10. by "acid_grinder". Turns out this is the ONLY film this person has reviewed, so I guess he/she was a crew or cast member or had a friend or family member who was. Nothing positive to say about this garbage. A shame to see Matthew Modine in it, perhaps he needed some fast cash for little real work. FAILURE. 2/10.

fedor8 Not exactly one of Ferrara's better films. It's a lot like his "A Dangerous Game"; slow, self-conscious, self-indulging, dwelling on the film world and - in this case ("T.B.") - its decadence. The camera is used in such a way to create a documentary feel, and the dialog seems partly improvised. Dennis Hopper says "man" in every sentence so this role is not much of a stretch for him (nothing new there...). Schiffer is wooden and plastic; a Barbie doll with new batteries would have sufficed if this so-called performance is all Ferrara really wanted from her. Would someone please get these supermodels out of "serious" movies?! It's a safe bet that Ferrara hired her only so that he could fantasize about her in his trailer. Or maybe he hoped she would become his girlfriend… Some scenes work well, while in others there isn't much going on. Hopper, who plays an extremely bad director, has his best scene when he reveals the secret to Modine

allyjack It takes a while to get into the movie's mood - Modine's druggy trawl through a razor-sharp Miami is not very well differentiated despite Ferrara's excellent handling, teetering at the edge of surrender to the prevailing decadence but always retaining a distinct alienation and fascinated disgust. Later on the style becomes more tightly formal and controlled, befitting Modine's cleared up state, and Ferrara's portrayal of his obsession and disquietude is very effective in a more conventionally expositional way. Towards the end the mechanics of the ultimate revelation really take over, but Hopper's final long profane shouting fit at Modine after he learns the truth is too hard-hitting to be set aside, and the high-risk final image is oddly touching - the movie is a plausible account of a true lost soul grappling for stability in a world of temptation and internal darkness, with neat (albeit stunt) casting.

atmanda Lots of people seem to hate this film, but I think it is one of his strongest. Modine and Hopper are a great team. Ferrara does a fine job of summoning up the brooding menace of suppressed memories and bad love. Dennis Hopper takes time off from being a pantomime villain, and becomes genuinely scary for sheer decadence instead. The sunshine and sleaze of Miami are perfect counterpoints to one another.Claudia Schiffer lets the side down a tad, being only nice but dim. Oh, and the Schooly D title song is not really all that. But mostly it hits the spot.