Sliver (1993)

"Sliver" feels like one of those movies, not uncommon in the early to mid 90's, where the film-makers tried to add as much sexual-tension as they possibly could. Of course much of this is because of the success of "Basic Instinct".

The main problem with this approach is that i feel it warrants a sure hand. Otherwise you'll end up with a movie that lacks drive and in worst case just becomes silly. Unfortunately "Sliver" both lacks drive AND becomes silly. While i feel that "Basic Instinct" is a good thriller i don't know if trying to copy it is such a good idea. "Basic Instinct" worked mainly because of the chemistry between Sharon Stone and Michael Douglas in the two leads. Paul Verhoevens directing was mostly intent on creating appropriate moods and settings for their encounters. Here on the other hand we have a (seemingly much less dedicated) Sharon Stone having no chemistry whatsoever with William Baldwin. The fact that Baldwin is not even close to Michael Douglas acting-wise doesn't help either. But the failed "sexy" approach is not the only thing wrong with this movie. There is also the insanely crappy story of murders happening in a house full of cameras, and still no-one knows who the killer is.

In the end "Sliver" fails where "Basic Instinct" succeeds. The era of "sexy thrillers" has passed now fortunately, and this is one of it's biggest disappointments (considering actors, budget and ambition). I rate this 3/10.

Fmovies: Bad, bad, bad movie, carried only by the alleged star-power of Sharon Stone and featuring another Baldwin reject and about as much eroticism as an obscene phone call. The film also boasts one of the worst endings ever committed to celluloid. Avoid at all costs.

Finally saw the uncut version of this on a premium channel. First, the movie was based on a novel by Ira Levin, who wrote "Rosemary's Baby" years ago, about a bunch of weird witches in a kinky New York apartment building and several unexpected deaths in the building. This is about a bunch of perverts in a kinky New York apartment building and several unexpected deaths in the building. So there's an odd feeling of familiarity.

Next, the script, by Joe Ezterhaus, is "Basic Instinct" meets "Jagged Edge." The film starts out like a classic woman in peril film, except the woman is Sharon Stone and the camera lingers on her obsessively. It's soft porn in some shots and hard core in the shower scenes where we get to imagine her masturbating. The scenes with her in them just go on and on. (Yes, she is/was beautiful, but a fabulous face can't carry this sorry mess.)Its a mish-mash of a bad plot, bad dialogue, uneven acting and we've seen it all before. Twice. Nothing new is added to the film to make it interesting except the concept of voyeurism and it's not enough.

Sliver fmovies. Out of 1993 comes "Sliver" the sexy top-notch thriller that is very well done, but slightly misses the mark towards the end. Sharon Stone's character Carly Norris is a respected book editor with pretty much no social life, until she moves to a new apartment building called Sliver Heights, where she meets William Baldwin's character Zeke Hawkins and the two form a very passionate relationship. Of course being a thriller, something isn't quite right, and so Carly searches to find out what is going on.

Stone and Baldwin are both excellent in their leading roles. She's attractive, he's handsome and both are charismatic. There's some steamy scenes between the two of them, Stone's character is one that you can really care for. The supporting characters in "Sliver" actually do what supporting characters are supposed to - support. Tom Berenger's character the dodgy Jack Lansford is the "is he or isn't he" red-hearing, and is played well. Polly Walker plays the vampy Vid Warren, Carly's apartment neighbor, and is a good parallel to the reserved Carly. Colleen Camp is Judy Marks, Carly's incorrigible assistant and she is terrific. Finally, CCH Pounder plays the detective, Lt. Victoria Hendrix, though she is rather under-used here, this not being one of her best performances, probably because of the fact that she is under-used.

"Sliver" provokes some interesting topics of conversation for your next cocktail party, namely the notions of privacy and what would you do if you had the power to watch almost whoever you wanted, as Baldwin's character did. With the increasing notion of "Big Brother is watching you" in today's society, "Sliver" seems even more relevant to our lives. "Sliver" is presented in a glossy manner with a cool soundtrack and is relatively fast-paced. However, while the ending is effective, more could have been done to raise the notions of privacy that I previously talked about. Other than that, "Sliver" is a very sexy thriller.

Stone moves into an apartment building, has weird neighbors, spooky things start happening left and right, "perv" Baldwin watches her through surveillance cameras etc.

Sliver had potential. While it's not a total time waster it is very disappointing. Director Noyce doesn't seem to know exactly what kind of film he's making here, always promising something that never comes. Rumour has it that the film was drastically cut and re shot and the end result here is not satisfying, though I don't know what was originally planned, but it must have been better. It has it's moments, certain scenes work very well and suspense is easily built but not sustained. As said, the ending is ridiculous and really hurts the film.

Stone is simply a goddess and delivers a good performance but William Baldwin is utterly intolerable, why this man was given leading roles in big budget Hollywood films I will never know. The always reliable Tom Berenger isn't given much to do and his role is a rather thankless one, underwritten and somewhat degrading. Sadly his career went downhill from here on.

Apartment complex in New York City is beset with strange deaths and cameras everywhere; new tenant Sharon Stone is dating the mysterious owner, but could he be the killer? Based on a flimsy novel by Ira Levin (who was slumming, but that's a different story), this unappealing film wants to be both sexy crime-thriller and murder-mystery, but it is such a mess from a writer's standpoint that, in the end, all you have left are the performances, which aren't dynamic enough to carry the load. Sharon Stone is low-keyed, perhaps a bit self-conscious, yet this works for her tentative character. Too bad the filmmakers were so concerned with exposing the killer that they lost track of this woman and her plight. Drop all the mystery, and you might have a decent character study. *1/2 from ****