Atlanta D.A. Dana Greenway (Sean Young) takes risks in a sting putting her investigator Hannah on the line. Colleen Dells comes to her complaining about David Hanover (Patrick Bergin). He pretends to be a well-known famous photographer and scared her into posing nude even having sex. A second victim comes with a similar story except this time he took her car. Dana's boyfriend/superior Stanton Gray suggests perversity could be more conviction worthy than the actual crime. With no one willing to file charges, Dana tracks down Hanover in Savannah putting herself in the position of his next victim.Sean Young gels back her hair so hard that it looks like it hurts. It's an overly overt visual cue to denote a hard cold female lawyer. This movie is caught between a salacious sexploitation B-movie and a serious take on the reality of rape. It makes this very awkward and unappealing. It tries to go into some dark murky psychological space but it feels more like a melodrama. I don't know what exactly her plan was going to his place. It seems very close to entrapment. It would have worked so much better if he could pick her up from the bar or the photo lab. The movie feels awkward in many places. Following Hannah tracking down Dana is not compelling. The movie should have ended after Dana gets out of imprisonment. The drama can't go any higher and the last section runs too long. Director Lizzie Borden has made mostly erotic fiction and this doesn't have the best production value.

In Lizzie Borden's "Love Crimes" (1992), Sean Young plays a gritty D.A. in Atlanta. She's a loner who gets herself too deeply involved in the case of a man (Patrick Bergin) who poses as a famous fashion photographer and seduces women, takes compromising photos of them, then leaves them.Sean Young's tough loner decides to enter the phony shutterbug's life by posing as his prey, intending to bring him to justice. They meet, they have sex, then the next thing she knows, she is over his lap, getting spanked. (Note: The spanking scene is only in the "unrated" version of this film. The R-rated version omits it and several other scenes that would make the plot more lucid.) This psychological thriller includes several scenes of female nudity and disturbing images, such as Bergin chasing one of his victims around the room, flailing at her with a riding crop.As a thriller, "Love Crimes" is at its best when Sean Young is playing her cat-and-mouse game with Bergin, trying to catch him in an incriminating act. It's unfortunate that the film doesn't end, it just stops. That's true. Director Lizzie Borden may have just run out of story to tell, but after 92 minutes the credits roll, and we are left with a puzzling "what just happened?" bewilderment.The unfolding of Young's plan is played out in engaging style, but the lack of a coherent ending will be a turn-off for some viewers.Dan N. ([email protected])

"Love Crimes" tries for ambiguity, but fails to achieve it because the talentless Sean Young is unable to project any kind of emotion. Her character is supposed to be simultaneously charmed and appalled by the simultaneously seductive and sleazy Patrick Bergin (who's quite good in his role), but you wouldn't know it from her narcotized performance. Couple that with an anticlimactic ending, and you'll know why this movie never found an audience. (**)

I had to view this film again, just to make sure I was reviewing the same film. Unfortunately, this film was made in America's matriarchal society.This is the story of a man that puts women in touch with their inner sexual feelings. It is repeated several times that he has committed no crime. In fact, in Europe, this man would be admired, in America the reverse it true. This is a film about stalking and entrapment, and if you head isn't on backwards, you will understand the same person does both.The worst thing about the film are the psychological flashbacks. Much like Marnie, but not as bad. This sort of passing blame to parents is unforgivable.Sean Young and Patrick Bergen are seasoned B film actors, don't expect a big production. But the film is adequate to pass the message if you "get it".If you like the drift of this film, a more sophisticated version can be found in "Night Porter" with Dirk Bogarde and even the original French version of "The Story of O". These European films treat the subject matter in a far more logical manner.