To me, this movie is perfection.

As Good As It Gets

To all those who have watched it: I hope you enjoyed it as much as I do.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Psychiatrist Dr. Isaac Barr (Richard Gere) is treating Diana Baylor (Uma Thurman). His testimony gets Pepe Carrero released angering police detective Huggins (Keith David). Diana's sister Heather Evans (Kim Basinger) comes to his office. They have an affair but her husband Jimmy Evans (Eric Roberts) is a violent Greek gangster.This tries to be a Hitchcockian thriller using every superficial ways. The acting is melodramatically broad. Even the music is reminiscent of the most popular Hitchcock. It feels old and badly overwrought. It's a showy copy of better movies. It would be more compelling to NOT show the killing. It would allow the audience to guess at the truth of the incident and build paranoia which the great master would have done. The movie has to understand that the psychobabble is meaningless to the normal audience. This relies on us believing the jury would buy the psychobabble. For a movie relying on psychiatry, these people are simple-minded. I don't feel for any of these characters. I certainly don't care about Gere's character and by extension, I don't care about this movie.

Richard Gere and Kim Basinger reunite from 1986's mediocre "No Mercy" for this outlandish, just-as-shallow would-be murder mystery. Occasionally enjoyable, fruity concoction concerns psychiatrist Gere becoming involved with two sexy sisters who are hoping to formulate the perfect murder plot. Lots of story twists, each one more preposterous than the last, but with a slick production and a fine climax atop a lighthouse. Gere looks a bit ill-at-ease, but Basinger and Uma Thurman are both very good. Eric Roberts is eliminated early (a plus), but Keith David flounders in the hopeless role of the detective on the sisters' trail. For viewers in the requisite silly spirit, not too bad. ** from ****

right from its opening credits,final analysis takes u to the mystico-glamorous era of those amazing films noirs of the 50's..the breathtaking settings,the glamorous but twisted blonde,the haunting yet chilling score echoing Bernard Hermann's Hitchcock era.the movie has a classy feel to it.sparks fly when Kim basinger makes her appearance,in a red dress a la Grace kelly.uma Thurman is very good in her role,and keeps her enigmatic facade till the end.if u're familiar with Hitchcock's Vertigo,u will find its echoes,similar settings and landmarks of san Francisco serving as background to this solid thriller.i've seen many movies of this genre,i've seen vertigo,obsession,basic instinct,and many more.this movie is UNDERRATED.it's one of the best in its genre!

Gere plays a psychiatrist treating mentally unstable Uma Thurman. Basinger, Thurman's sister, approaches Gere to try and shed some light on her sister's condition and the two of them start a relationship.That's just the beginning in a rather elaborate Hitchcockian plot that is for the most part very suspenseful but rather slow moving. The well written plot takes it's sweet time getting started but once it does the film only goes uphill. Stylish director Joanou keeps the film very interesting on a visual level, many wonderful eye candy moments.The story, written by Wesley Strick, has a few unexpected twists and turns but is somehow rather predictable, especially for a seasoned thriller and murder mystery fan. All leads play their parts very straight, there's no powerhouse performance here, they're mostly very subdued with Eric Roberts the only exception, he plays a total slimeball to a tee.The finale, very reminiscent of Hitchcock's Vertigo, is a knockout, very rich in style and suspense. Final Analysis, I feel, could have been even better, but it's pretty good all the same.