After the high profile, but at the time commercial unsuccessful Bladerunner, Ridley Scott's meteoric rise into Hollywood juddered to a halt. Nevertheless Scott decided to head in a different direction with this small scale, archetypal and relationship oriented drama about how a committed but inexperienced working-class detective (Tom Berenger), under pressure to protect a charming and beautiful New York socialite (Mimi Rogers) as part of witness protection team plays out in circumstances of growing pressure and danger. Berenger's character is working in shifts with two much more experienced detectives (well played in smaller parts by Tony DiBenedetto and James E Moriarty) and watching him develop a repressed human affection for Mimi Rogers character, who plays her character as vulnerable but also charming and assertive is involving and enjoyable. One event then tips this friendship over into a full blown affair, and the rest of the film deals head on with the consequences of this decision in the context of Venza's growing determination and finally desperation not to be identified as the murderer. Alongside this is how the relationship between Berenger's character and his family, well played by the relatively new to Hollywood Lorraine Bracco as his wife and child actor turned businessman Harley Cross as his son changes as the affair becomes public. This change is well realised, though the film's ending does feel a little too convenient, even if it is emotionally satisfying. However the progression of the story works well as Mimi Rogers portrayal of her character means the viewer ends up being sympathetic to the tragic circumstances unfolding of two individuals caring for the welfare of each other being placed in an ever more intense situation. While hardly a success at the box office, (around $10 million in US takings against at $10-$15 million budget) as a film is was Scott's most human and relationship driven film at this point in his career. He coaxed solid performances from the cast, and despite a focus on characters he still produced a visually impressive film, making New York look fabulous. Technical credits are solid all round with a particular nod to Steven Poster's excellent photography. Overall a fascinating and involving film.

This film couldn't have been more 80's if it was wearing leg-warmers. Shot with all the depth and meaning of an MTV video, it's ludicrously plotted, poorly acted and surprisingly, considering it's a Ridley Scott feature, rather boringly directed if truth be told.Let's take the plot first and take your pick from the most far-fetched scenario, from the unlikely relationship between ever so rich, ever so posh Mimi Rogers and ever so working-class, ever so gauche Tom Berenger, to the mad murderer running about New York, coming back for lone witness, even after he's improbably let out on bail after a murder attempt, to the finale when Berenger's estranged wife comes to his aid in the most dramatic way and of course takes him back.As for the acting, I didn't detect any heat between the leads at all, a situation not helped by Scott deciding not to give us a big sex-scene involving them, which while I'm no advocate for X-rated scenes, felt something more could have been done to explain the unlikely liaison between the two of them. They make a good-looking couple, but their characterisations are too one-dimensional, Rogers as the poor little rich girl and particularly Berenger with his sub-Rocky like enunciation and dumb-lunk portrayal.I also felt there was too little action in the film and the intended suspense-ful bits were lacking in tension and th soundtrack an uneasy mix of jazz and pop, with the title song played far too often, no matter if it is in different guises.It's certainly a beautifully shot film but the colours are too ripe as if the cameras are in permanent soft-focus mode, over-prettifying the cinematography.I've struggled all through this review trying to avoid saying style over content, but there you go, I've said it...and I mean it.

Ridley Scott directed this modern urban drama about a blue-collar NYC cop assigned to protect a beautiful murder witness in her posh uptown penthouse. True to any romantic daydream the two fall in love, complicating the policeman's family life, but in spite of its contrived scenario the film manages to offer a surprisingly sensitive (if shallow) story, with Tom Berenger turning in a likable performance as the kind-hearted, hard working cop from the wrong side of the tracks, unable to resist the gloss and glamour of socialite/sophisticate Mimi Rogers. As usual Scott overdresses the visual scheme of the film, and the stylistic excess detracts from the suspense and credibility of Howard Franklin's script, making 1987 New York City look a lot like 2019 Los Angeles in 'Blade Runner', with lots of chrome and steam and flashing neon (even in closed elevators). But after overcoming an awkward opening the screenplay settles for a terribly convenient ending: there's nothing like having a murderous psychopath threatening your estranged wife to bring about a quick marital reconciliation.

How has Tom Berenger slipped out of the view of Hollywood? This man is a real talent, who conveys the confusion and pathos of an untenable situation with passion, conviction and realism. Scott makes the tension palpable, and the supporting cast is so well rounded that IMHO it makes one of the best ever cinematic experiences. Mimi Rogers puts in a credible performance as a tortured socialite and the thrill of the chase makes for some startling and real scenes which keep you on the edge of your seat. If you want great entertainment without the hugest cerebral challenge (!) this is a fab way to spend an evening.