6.1 | / 10 |
Users | 3.0 | |
Reviewer | 2.0 | |
Overall | 2.0 |
A psychiatrist is helping a neurotic art gallery owner who has a submissive and very satisfying sexual relationship with her new lover, a domineering man with a violent streak. An airline pilot that the psychiatrist recently started dating turns out to be having an affair with the patient. When someone is murdered, the psychiatrist must decide whether the lover is a homicidal maniac or someone who loves her. Her mentor and his wife attempt to help her, but things aren't what they seem.
Starring: Annabella Sciorra, Jamey Sheridan, John Leguizamo, Anthony LaPaglia, Jill ClayburghThriller | Insignificant |
Drama | Insignificant |
Mystery | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
English: DTS-HD Master Audio 5.1
English: DTS-HD Master Audio 2.0
English SDH
Blu-ray Disc
Single disc (1 BD)
Region A (C untested)
Movie | 2.0 | |
Video | 2.0 | |
Audio | 3.5 | |
Extras | 1.0 | |
Overall | 2.0 |
Erotic thrillers really hit their stride in the 1980s. Stripped of the grimier sensibilities of the 1970s, the subgenre found glossiness it could work with, dealing with charged stories of sex and murder through highly stylized directorial efforts, including the one of the biggest hits of the decade, 1987’s “Fatal Attraction.” As cable service and video stores spread across the U.S., the value of the erotic thriller changed, with audiences no longer required to visit the theater to enjoy some slightly embarrassing titillation, getting their kicks in the privacy of their own home with help from a collection of B- list actors more than willing to disarm and disrobe for these productions, which were cheap to produce. 1992’s “Whispers in the Dark” wasn’t cheap (reportedly costing $30 million dollars to make), and it was generally behind the times in content. Sure, coming out the same year as “Basic Instinct” didn’t hurt, but the Paul Verhoeven event film was wickedly volatile, with heavy European sensibilities, and it was well-crafted. “Whispers in the Dark” is basically the opposite of “Basic Instinct,” with writer/director Christopher Crowe (“Off Limits”) hunting for a similar balance of kinkiness and violent activities, crafting a whodunit that tries to be more psychological in its approach, adding bits of carnal activities here and there. Crowe arrives with good intentions to generate twists and menace, but the final cut becomes completely ridiculous at times, especially when third act events arrive, which offer unintentional laughs, not satisfying closure.
The AVC encoded image (1.85:1 aspect ratio) presentation is sourced from a very old, possibly DVD-era master. While Shout Factory tries to create a passable viewing experience, age is inescapable. Detail is mostly missing, losing textures on skin surfaces and interior decoration, and city tours offer only basic dimension. Colors fare a bit better, handling warmer office and home environments, but distinct hues aren't present. Delineation slips into solidification. Grain is chunky, losing a natural, film-like appearance. Artifacting is present, most pronounced during the main title sequence.
The 5.1 DTS-HD MA mix delivers pronounced dialogue exchanges, working with heated confronted and more hushed performances, especially from Sciorra. Nothing reaches into distortive extremes. Scoring is also appealing, with delicate piano selections and more suspenseful strings appreciable. Surrounds aren't lively, but atmospherics are present, along with musical offerings. Low-end is rarely challenged.
It's tough to remain with Ann, who emerges as a practiced therapist with no awareness of anything or anyone in her life. While Crowe tries to knot up the story, he never tops the sting of Doug and Eve's relationship, going in a completely different direction for the finale, which is teeming with bad choices from miscast actors, and the writing simply gives up just to find a way out of the story. "Whispers in the Dark" is always absurd, but with heat and simple acts of betrayal, it had a chance to connect with viewers. Crowe doesn't trust such primal urges, laboring to make a puzzle out of the endeavor, without offering a reason to solve it.
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