It's a senseless, tasteless and demented postmodern noir that has about as much class as a gimpy $10 Times Square hooker.

This is a battle-of-the-sexes movie played out at such a pitch of pervsity and amorality that it ultimately becomes rather laughable.

[It's] never content with one cliche when it can shovel on ten.

The cast tries to make up for the script's hollowness by hurling themselves headlong into the sort of bloody, sweating, spittle-spewing performances that can sometimes turn thin material into personal triumphs, but to little avail.

An underrated gem. Gary Oldman is amazing.

Film noir at its worst and most excessive, an exercise in style, marred by ridicuolous voiceover narration and incomprehensible plot points; Lena Olin gives a sexy over the top performance.

Hilary Henkin's script isn't as smart as it thinks it is, and only Olin's breathtakingly excessive femme fatale hits the right note of campy panache.