Despite plenty of sunshine and the presence of 80's stalwart Don Johnson, this is quintessential film noir, a little gem that reeks of Stanwyck and Mitchum and ripples with pithy one-liners, nicely convoluted plot twists and a classic moral triangle.
All the leads deliver knowing and unhurried performances, aided by a lean, laconic script and smooth direction - Jennifer Connelly is the astonishingly beautiful innocent, gradually bring dragged into a corrupt world ; Virginia Madsen simmers perfectly as the amoral and predatory manipulator ; and Don Johnson brings style and swagger to the central role, the cynical opportunist who finds a moral redemption of sorts, an outsider who finds himself both player and played in a seedy small-town intrigue.
Like all the best noir, Hot Spot starts with the implicit assumption that the audience is grown-up and able to appreciate subtlety and inference, and this understated adherence to story and character is a long way from the referential post-modernism of Tarantino. And while it probably lacks some of Tarantino's flash and bravado, the dialogue drips with innuendo and irony, and I challenge anyone not to get caught up in both the ingenious narrative and the sheer enjoyment of the supporting cast, who provide plenty of visual and verbal humour. The silences and raised eyebrows at various points are a delight, we can work out the meanings for ourselves (and it's nice to be trusted to do that), and I don't think Don Johnson has been better before and or since.
If you are looking for a Scorsese/Coppola-style gangster film, or an intricate ensemble piece with plenty of shooting like The Usual Suspects or Reservoir Dogs, this might not be your bag. If you think Sin City was at all challenging or subtle (or in fact that it genuinely qualifies as film noir) it's not for you either. But if your taste runs to Double Indemnity, The Big Heat or Out Of The Past, I can almost certainly guarantee that - like me - you will find The Hot Spot deeply satisfying, a storytelling treat that exemplifies the best of the genre and, unlike most of its late 80's/early 90's contemporaries, easily stands the test of time.
All the leads deliver knowing and unhurried performances, aided by a lean, laconic script and smooth direction - Jennifer Connelly is the astonishingly beautiful innocent, gradually bring dragged into a corrupt world ; Virginia Madsen simmers perfectly as the amoral and predatory manipulator ; and Don Johnson brings style and swagger to the central role, the cynical opportunist who finds a moral redemption of sorts, an outsider who finds himself both player and played in a seedy small-town intrigue.
Like all the best noir, Hot Spot starts with the implicit assumption that the audience is grown-up and able to appreciate subtlety and inference, and this understated adherence to story and character is a long way from the referential post-modernism of Tarantino. And while it probably lacks some of Tarantino's flash and bravado, the dialogue drips with innuendo and irony, and I challenge anyone not to get caught up in both the ingenious narrative and the sheer enjoyment of the supporting cast, who provide plenty of visual and verbal humour. The silences and raised eyebrows at various points are a delight, we can work out the meanings for ourselves (and it's nice to be trusted to do that), and I don't think Don Johnson has been better before and or since.
If you are looking for a Scorsese/Coppola-style gangster film, or an intricate ensemble piece with plenty of shooting like The Usual Suspects or Reservoir Dogs, this might not be your bag. If you think Sin City was at all challenging or subtle (or in fact that it genuinely qualifies as film noir) it's not for you either. But if your taste runs to Double Indemnity, The Big Heat or Out Of The Past, I can almost certainly guarantee that - like me - you will find The Hot Spot deeply satisfying, a storytelling treat that exemplifies the best of the genre and, unlike most of its late 80's/early 90's contemporaries, easily stands the test of time.