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Critic Reviews for Breathless
I recommend 'Breathless' for non-squeamish thriller fans, but the amount of blood and gore on display may be way beyond what even those brave viewers can imagine.
No kidding. If you chained-smoked half as much as the plotting ladies in this twisty dramedy, you'd be hyperventilating, too.
Could be watchable because of Gina Gershon's mildly interesting manipulative and ruthless damsel-in-distress role.
Now Val Kilmer is just in a race with Ray Liotta to see who can get the oldest and the fattest the fastest. It's like the tagline to "Alien Vs Predator;" whoever wins...we lose.
Audience Reviews for Breathless
Gina Gershon and Kelli Giddish star in the noir crime film Breathless. After accidentally killing her husband while trying to find out where he hid $100,000 from a bank robbery, Lorna enlists her best friend to help her dispose of the body. Gershon and Giddoish have great chemistry together, and are especial good at delivering the dark comedy. However, the script is a little weak and the dialog is clumsy at times. Additionally, the use of a single set is rather limiting and gives a low-budget feel of the film. Yet despite having a few issues, Breathless is entertaining and kind of fun.
When Tiny(Kelli Giddish) visits her friend Lorna(Gina Gershon) in her trailer, she is shocked to discover Lorna holding a gun on her no-good tied-up husband Dale(Val Kilmer). Lorna suspects him of being involved in a bank robbery in a nearby county that netted $100,000 and would kindly like to know the location of the loot. All questions are moot after Lorna forgets to set the safety on her gun. Enter Sheriff Cooley(Ray Liotta).
While it would probably not be out of the question to think of "Breathless" as little more than an extended episode of "Tales from the Crypt," it is also fairly entertaining due to some good work from its principal actors. And while the graphic violence contains the odd dismemberment, the movie is not really sadistic, either. But while I always appreciate a crafty scheme, the one at the heart of this story is a little too perfect, like the one on the other side of the state in "The Bridge," both serving as reminders how writers, like sabermetricians, can forget about the human factor now and again.
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