It appears that most people decided they were going to hate Basic Instinct 2 before it even hit the theatres, which is a shame because the film is great. Basic Instinct 2 might not scale the same heights as the original but it is a well directed thriller that offers a great cast and the funniest opening sequence in years. The general view that Sharon Stone was too old to reprise her career-making role is a prime example of the prevailing view in Hollywood that an actress over 40 should put a bag over her head and stick to playing mothers. Don't fall for it - Sharon still has enough sizzle to put most leading ladies to shame.
The original "Basic Instinct" was dark and sleazy in a way that only Paul Verhoeven could get away with in a mainstream movie. The tone for the sequel is decidedly different and will initially be quite jarring for fans of the original. This is immediately apparent from the spectacular opening sequence in which Catherine becomes distracted while being digitally pleasured and crashes her car into a river. Catherine's unfortunate companion dies and she is once again the prime suspect in a murder investigation. This scene really has to be seen to be believed and I can only hope that it was intended to be darkly comedic because I think it's one of the funniest movie moments in years. The scene also heralds the overt film-noir stylings of director, Michael Caton-Jones. The image of Catherine floating to the water's surface like a corpse is memorable and beautifully shot.
After the film's stylish yet hilarious beginning, it comes as a relief that the remainder of the film is a more traditional thriller, which offers liberal servings of sex but more importantly, an intriguing (if incredibly unlikely) storyline. Catherine is interviewed by Michael, a psychiatrist who declares her to be a calculating sociopath. Instead of being offended, Catherine is impressed and visits Michael for therapy after being acquitted! This begins a long game of cat and mouse, as the sexual tension between the couple mounts and people close to Michael begin suffering violent deaths. The film's credibility hangs on the assumption that Michael would be willing to risk his career and safety for Catherine and that she would be amused enough by Michael to bother trying to ruin his life. The talented cast somehow make the scenario seem vaguely plausible and from that moment on, the film is an escapist treat.
Sharon Stone annoys me when she tries to act. When Sharon is content to rely on her charisma and sex appeal, as in this film, she's a joy to watch. Catherine Tramell is just as enticing a character now as she was all those years ago. The diva attitude is intact, as are her crazy-eyed dramatics and habit of frequently disrobing. The major difference is the quality of the writing. Sharon manages to get away with the kind of truly awful dialogue that would leave most actresses red-faced and appalled. It's ridiculous that the state of Sharon's looks has been such a talking point with this film. Strangely, the nastiest remarks have come from women - so much for all the whining about the lack of roles for women of a certain age. An actress over 45 actually lands the lead role in a major production and all the proponents of acting equality fall over themselves to cut her down. Sharon certainly still has what it takes to turn heads and this reincarnation of Catherine Tramell is sensational.
In fact, the biggest problem with the film is the question of why Catherine would bother to give someone as insipid as Michael 5 minutes of her time, let alone stalk him like a crazy woman. It is a credit to David Morrissey's skill as an actor that Michael transforms from a dull bore into something far more edgy. David Morrissey might seem a bit lost in the sex scenes but he excels in close-up and displays an impressive range. The supporting cast is equally good, with stellar performances from Charlotte Rampling and David Thewlis. The performances are better than the tawdry script deserved and Michael Caton-Jones exhausts every camera angle imaginable trying to keep the direction interesting. If anything, he tries a little too hard. The film noir approach occasionally seems rather forced, particularly during the action sequences.
As for the film's sexual content? There is enough flesh on display to please the casual pervert but not enough to make the more genteel viewer too uncomfortable. I particularly liked the group orgy scene, stylishly filmed from a glass roof. The violence has been toned down in the sequel but the action and gore content is well handled. I found the film's conclusion as perplexing as the original, which I'm not sure is a good or bad thing. Forget about the bad press and enjoy this film for what it is - an entertaining thriller, spiced with liberal doses of sex and nudity.
The original "Basic Instinct" was dark and sleazy in a way that only Paul Verhoeven could get away with in a mainstream movie. The tone for the sequel is decidedly different and will initially be quite jarring for fans of the original. This is immediately apparent from the spectacular opening sequence in which Catherine becomes distracted while being digitally pleasured and crashes her car into a river. Catherine's unfortunate companion dies and she is once again the prime suspect in a murder investigation. This scene really has to be seen to be believed and I can only hope that it was intended to be darkly comedic because I think it's one of the funniest movie moments in years. The scene also heralds the overt film-noir stylings of director, Michael Caton-Jones. The image of Catherine floating to the water's surface like a corpse is memorable and beautifully shot.
After the film's stylish yet hilarious beginning, it comes as a relief that the remainder of the film is a more traditional thriller, which offers liberal servings of sex but more importantly, an intriguing (if incredibly unlikely) storyline. Catherine is interviewed by Michael, a psychiatrist who declares her to be a calculating sociopath. Instead of being offended, Catherine is impressed and visits Michael for therapy after being acquitted! This begins a long game of cat and mouse, as the sexual tension between the couple mounts and people close to Michael begin suffering violent deaths. The film's credibility hangs on the assumption that Michael would be willing to risk his career and safety for Catherine and that she would be amused enough by Michael to bother trying to ruin his life. The talented cast somehow make the scenario seem vaguely plausible and from that moment on, the film is an escapist treat.
Sharon Stone annoys me when she tries to act. When Sharon is content to rely on her charisma and sex appeal, as in this film, she's a joy to watch. Catherine Tramell is just as enticing a character now as she was all those years ago. The diva attitude is intact, as are her crazy-eyed dramatics and habit of frequently disrobing. The major difference is the quality of the writing. Sharon manages to get away with the kind of truly awful dialogue that would leave most actresses red-faced and appalled. It's ridiculous that the state of Sharon's looks has been such a talking point with this film. Strangely, the nastiest remarks have come from women - so much for all the whining about the lack of roles for women of a certain age. An actress over 45 actually lands the lead role in a major production and all the proponents of acting equality fall over themselves to cut her down. Sharon certainly still has what it takes to turn heads and this reincarnation of Catherine Tramell is sensational.
In fact, the biggest problem with the film is the question of why Catherine would bother to give someone as insipid as Michael 5 minutes of her time, let alone stalk him like a crazy woman. It is a credit to David Morrissey's skill as an actor that Michael transforms from a dull bore into something far more edgy. David Morrissey might seem a bit lost in the sex scenes but he excels in close-up and displays an impressive range. The supporting cast is equally good, with stellar performances from Charlotte Rampling and David Thewlis. The performances are better than the tawdry script deserved and Michael Caton-Jones exhausts every camera angle imaginable trying to keep the direction interesting. If anything, he tries a little too hard. The film noir approach occasionally seems rather forced, particularly during the action sequences.
As for the film's sexual content? There is enough flesh on display to please the casual pervert but not enough to make the more genteel viewer too uncomfortable. I particularly liked the group orgy scene, stylishly filmed from a glass roof. The violence has been toned down in the sequel but the action and gore content is well handled. I found the film's conclusion as perplexing as the original, which I'm not sure is a good or bad thing. Forget about the bad press and enjoy this film for what it is - an entertaining thriller, spiced with liberal doses of sex and nudity.