Released on parole after serving 15 years for the murder of his wife, Rutger Hauer becomesthe new case for social worker Natasha Richardson. This being one of those thrillers we’ve seena million times before, Richardson naturally suspects that Hauer is innocent after all, andpromptly falls in love with him. She begins investigating the case, and someone doesn’t takekindly to the fact that she is digging up the past.
Any viewer who actually falls for the did-he-or-di…n’t-he gambit the film proffers reallyneeds to expand his/her horizons. The plot plays out in depressing by-the-numbers fashion untilthe thoroughly expected climax. The most fun to be had involves an egregious continuity errorinvolving the Venetian blinds in Richardson’s office (watch for it). Also of interest are thecredits, where it turns out that one of the associate producers is a pre-Reservoir DogsQuentin Tarantino.
The picture is atrocious (see below), but the audio isn’t bad. The is good left-right separationgoing on, both in terms of the effects and the music. The surround effects aren’t bad (by 2.0standards), and the scenes with rain are particularly atmospheric. The dialogue is clear and freeof distortion.
About the only thing that can be said in the picture’s favour is that it is in 1.85:1 anamorphicwidescreen. There is some minor speckling, the image looks a bit misty, and the colours arerather pale. The picture is quite soft, but the worst is the grain, which is at a completelyunacceptable level for a 1991 flick.
Nothing beyond trailers for The Missing, In the Cut and SecretWindow. The menu is basic.
Deeply ordinary, with a very ugly transfer. Give this one a pass.
Special Features List