Final Analysis

Final Analysis is a crackling good psychological melodrama [from a screen story by Robert Berger and Wesley Strick] in which star power and slick surfaces are used to potent advantage. Tantalizing double-crosses mount right up to the eerie final scene. Read full review

In the final analysis, the action-picture mechanics of the film are too limiting. No Mercy barely has a subject, much less a theme. Yet moments from the picture linger in the mind. If you don't leave the theater satisfied, you may at least be moved. Read full review

The most gripping performers are on the sidelines: Eric Roberts, a master of hyperbolic sliminess (he’s like Cagney playing a pimp on steroids), and Uma Thurman, who brings her underwritten role a hundred shades of curiosity, brattishness, and hopeless romantic fervor. She couldn’t be a stand-in if she tried. Read full review

Final Analysis is the kind of movie that's a lot more fun to look at than to think about. Maybe that's the point. Read full review

Final Analysis has the most convoluted plot about dreams, heights, murder, infatuation, Freudian imagery and a duplicitous San Francisco blonde since Hitchcock's "Vertigo." It's the kind of whopper that keeps you watching not because it's good but because you can't wait to see what the filmmakers will throw at you next. As it turns out, there's not much they won't try. In fact, by the time this cracked thriller reaches its hysterical finale, it's obvious that anything goes. [7 Feb 1992, p.22]