Back in the early ’90s, saucy thrillers were the cinematic genre du jour.
Much of that was down to the rise of video rental giants like Blockbuster.
Then, like Stones career, it all went quiet.
The demise of the erotic thriller in mainstream Hollywood can be attributed to many things.
Then again, it may have all been down to the films themselves.
That would soon change.
Though Carolco were confident about the projects success, plenty were not.
New Line Cinema immediately saw the potential in the premise, and instructed Shea to deliver a teenageFatal Attraction.
So much so, in fact, it went on to spawn three direct-to-video sequels of dubious quality.
Something that involves Hedy going to BDSM nightclubs where she pretends to be Allie.
This film was essentially remade in everything but name with 2011sThe Roommate.
As the old saying goes, imitation is the best form of flattery.
Although whoever said that clearly never sawThe Roommate.
Her body is evidence!
Or something like that.
Sliver (1993)
Slivershould have been a slam dunk.
Eszterhas was even drafted back in to write a new ending.
He ended up writing five.
None of which were used.
Matters are made worse when a friend and fellow therapist is brutally murdered.
He eventually relented, removing the offensive object from the theatrical cut but restoring it for the VHS version.
However, in truth, he always had something more sophisticated in mind.
The only shame is it didnt garner awards recognition.
That and it spawned an unrelated direct-to-video sequel that was pure softcore codswallop.
It turns out she sexually harassed him and now no one believes him.
Steering clear of the films contentious central conceit, its worth remembering the incredible talent that contributed toDisclosure.
Ennio Morricone did the films score while Donald Sutherland even pops up.
Disclosures poster campaign made headlines.
They should have watched the film.
How the likes of Dennis Franz must have laughed when they saw the resulting movies likeJade.
While the cast blamed Eszterhas confusing script, the writer himself blamed Friedkin for rewriting almost all of it.
He was most recently seen back on television, hiding behind a pair of sunglasses onCSI: Miami.
Part musical, part melodrama, part seedy sexploitation, one thing audiences definitely agreed on was thatShowgirlswas bad.
Even so, critiquingShowgirlswas like shooting fish in a barrel.
Instead its heirs turned out to be three horrible direct-to-video sequels.
