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Color of Night 1994 123movies

Color of Night 1994 123movies

In the heat of desire, love can turn to deception. Nothing is what it seems when day turns into night.Aug. 19, 1994121 Min.
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8 1 vote

Synopsis

Watch: Color of Night 1994 123movies, Full Movie Online – Psychologist gives up his practice when he unintentionally pushes a patient to commit suicide. In an effort to come to terms with this tragedy he visits an old colleague who is subsequently murdered. The quest to catch the killer centers around a group of psychologically disturbed patients, however equally as important is an affair which develops between himself and the mysterious Rose..
Plot: When New York psychiatrist Bill Capa visits Los Angeles to take over his murdered colleague’s therapy group, he finds himself embroiled in the thick of a mystery when he bumps into Rose and begins a torrid affair.
Smart Tags: #erotica #psychologist #nymphomania #sex_in_a_swimming_pool #psychological_thriller #shower #nymphomaniac #sociopath #seduction #tied_to_a_bed #premarital_sex #mysterious_woman #scantily_clad_female #voyeurism #female_removes_her_clothes #color_blindness #sex_in_bed #sex_scene #voyeur #promiscuous_woman #black_panties


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Ratings:

5.2/10 Votes: 24,399
22% | RottenTomatoes
36/100 | MetaCritic
N/A Votes: 472 Popularity: 17.915 | TMDB

Reviews:


ust when you thought they’d never make a mystery thriller as deliriously bad as Midnight Lace, just when you imagined that the gold lame spirit of Douglas Sirk had departed forever, comes director Richard Rush’s COLOR OF NIGHT to brighten up your dull evenings. Color of Night isn’t just bad: it’s bad with raisins in it.

If you were one of the few who saw Color of Night in a theater, you probably remember the plot, but for those millions and millions who missed this gem, let’s recap.

Bruce Willis stars as a psychologist. (Are you laughing too hard or can we go on now?) Willis is having a crisis of conscience/ confidence because one of his patients leaped out of a window after applying lots of lipstick. (We all know, don’t we, that applying lots of lipstick is a sure sign of suicidal depression?) Anyway, Willis goes out to L.A. to visit fellow shrink Scott Bakula, who takes Willis to his group therapy session so that the fun can start in earnest. Remember “The Bob Newhart Show” from the ’70’s? His group therapy meetings weren’t nearly as funny as these: we have a nympho, an obsessive-compulsive, a split personality, the Professor and Mary Ann — well, you get the idea. Bakula gets killed in a scene that looks like Psycho directed by Mack Sennett. The sad part is that Bakula is the most talented and attractive member of the whole goddamn cast and 30 minutes into the picture he’s been bumped off.

Willis stays on in Bakula’s grandiosely modern home (crammed with screamingly bad art) despite the fact that someone keeps stalking him and leaving snakes in the mailbox. (Are hotels in L.A. that expensive?) It’s like the TV movie where that devil doll keeps chasing Karen Black around her apartment going, “Yanni yanni yanni,” and it never occurs to her to just leave.Instead of ruining the horribly implausible and helter-skelter plot for you, We’ll just point out some of the more outrageous lapses of sanity: a) Willis’s patient jumps out of a Manhattan office tower, causing pedestrians to scream and run, whereas real New Yorkers would have lifted her purse; b) Three days after famous psychologist Scott Bakula is killed in an exceedingly colorful way in his midtown office, his patients still don’t know about it — okay, we’ve already established that there are no reasonably priced hotels in L.A., but surely there must be at least one newspaper or TV station; c) The whole plot hook — Willis goes color blind after seeing his patient’s blood — goes nowhere. Period. You keep thinking there has to be a reason for it or a plot twist that depends on it — but nothing ever happens.

The film is a laugh riot and we don’t want to give away all of the jokes. When we saw the film in the theater, the audience laughed all the way through the first sex scene, which took place underwater and was about as erotic as an Esther Williams movie. Oh, yes, we do get to see generous portions of Bruce Willis, though not as much as he’d have liked.
Then there’s the acting. Even the extras overact. Keep your eyes out for one unbilled woman playing a hooker in a police station. She only has one line, but she gives it such gusto that she will leave you stunned. Even formerly respected actors lose all sense of self-control; Lesley Ann Warren (decked out in a Shelley Long wig) twitches and twitters like a road company Billie Burke, and Ruben Blades does what appears to be a Jose Jimenez imitation. Willis actually seems like a model of intelligent understatement compared with the rest of the cast, but the truth is, he just wasn’t acting at all.

And then there’s Jane March. Ever so much of Jane March. Watching her try to match wits with Bruce Willis really makes you appreciate the bang-up job Cybill Shepherd was doing all those years. Jane spends half the movie dressed in disguise as a teenage boy. (How hard is she to spot? She’s got teeth like Bucky Beaver! This gal could eat corn on the cob through a picket fence!) It all just gets sillier and sillier until the grand finale, which tried to come off as Hitchcockian but reminded us more of silent film legend Harold Lloyd. Judging by the guffaws from the audience, we weren’t alone. So, watch Color of Night if you’re feeling down in the mouth. Just don’t try to eat popcorn during it — unless you know the Heimlich maneuver.

Review By: MoHA

Rare is the movie that benefits from addition. Color of Night is almost but not quite the exception that proves the rule. According to TV Tropes, “The director’s cut [which runs 20 minutes longer than the theatrical release] restored … much of the film’s humor.” Not nearly enough of it, though; if the movie had truly embraced its comedic potential, it could have been the Naked Gun of erotic thrillers.

Less than three minutes after he has been accused of being figuratively colorblind, psychologist Bill Capa (Bruce Willis) goes literally colorblind. To call this foreshadowing is an insult to prefixes. Bill loses the ability to see the color red when one of his patients defenestrates herself (the dummy that takes the fall is so stiff it looks like it might start gliding away at any second).

When the woman crash-lands on the street, we are treated to a shot of her bleeding face — from below; it’s sort of like the Sunset Boulevard pool shot only instead of looking through water, we are somehow looking through pavement.

A distraught Bill goes to visit his colleague and best friend Bob Moore (Scott Bakula) in Los Angeles. Bob invites Bill to sit in on a group therapy session, where one of the patients notices with amusement that Bill is wearing one red sock and one green sock — which of course looks only slightly more ridiculous than if either color actually matched.

Bob is soon stabbed to death in a scene that wouldn’t be entirely out of place in the first Scary Movie, and that culminates with Bob crashing through a glass door — well, he actually doesn’t so much crash through it as leans gently on it, at which point the door collapses like it was made of sugar glass as opposed to glass-glass, except for one particular shard that’s bigger and sturdier than the rest; so much so, in fact, that poor Bob can’t help impaling himself on it.

All five members of Bob’s therapy group are suspects, though sadly only two are blatant red herrings. Now, if the film had taken itself much less seriously, a joke about Bill’s inability to detect a red herring would have written itself; it would also have been funny if the entire group were composed of Usual Suspects (why not, for example, Ted Levine and Tom Noonan to complement Brad Dourif and Lance Henriksen?).

Bill takes over Bob’s duties and in the process becomes the subject of a couple of unintentionally hilarious assassination attempts, including a rare Car Fu/Fallacy of the Predictable Tree hybrid — and who could forget the ol’ Rattlesnake in the Mailbox?

As for the intercourse scenes, the norm is that you couldn’t make sex funny if you tried; then again, director Richard Rush wasn’t trying, and that’s how come we get, among other things, a toy tank used as a sex toy (doubly weird because this occurs in a bathtub, so shouldn’t it be a toy boat?), and a scene in which, even though he’s off-screen, you can hear (and then can never, ever un-hear) the exact moment when Bill grunts his way to climax.

Oh, and there’s also a sardonically wisecracking homicide detective played by Rubén Blades who, in a moment of self-awareness bordering on self-parody, mercilessly mocks the other characters for being so dumb (“How in the name of God could all of you be going out with the same woman and not know? Not have a clue? … I’m gonna call the Guinness Book of World Records because I think this woman deserves credit. And I’m gonna make sure that all of your names are included so you can all share in the glory”). That’s precisely what this movie needed; more Hudson Hawk and less Striking Distance.

Review By: JPRetana
Director Rush Goes Down with the Ship
There’s a good film in here somewhere just aching to get out, but the filmmakers seem more interested in playing Box Office Wheel of Fortune than caring about the quality of the product they’re trying to sell, and it makes `Color of Night,’ directed by Richard Rush, one of those movies that makes you shake your head and think, Ah! what could have been if only! And that single `if’ makes all the difference in the world with regards to what finally winds up on the screen.

When his treatment of a patient fails and ends tragically, leaving him with some pronounced psychological damage of his own, New York psychologist Dr. Bill Capa (Bruce Willis) quits his practice and goes to Los Angeles seeking the solace and, perhaps, the help of an old friend and colleague, Dr. Bob Moore (Scott Bakula). Capa quickly discovers, however, that Moore is having problems of his own, apparently stemming from a weekly group therapy session he has been conducting for some time. Moore, it seems, has recently received some death threats, which he believes are coming from one of the patients of this particular group, though he hasn’t a clue which one, nor any proof of his suspicions.

Moore invites Capa to sit in on the next group session, hoping for a fresh perspective and possibly some insights into the matter. At the moment, Capa feels incapable of actively engaging in the practice of his chosen field of endeavor, but in light of the fact that he’s Bob’s house guest, he acquiesces and agrees to observe the group. But it proves to be an inauspicious proposition for all concerned, and subsequent circumstances quickly put Capa at the center of just the kind of situation he left New York to avoid. Once the hand is dealt, however, he has no choice but to play it out to the end.

Rush began his career as a director with low budget exploitation films like `Too Soon to Love’ in 1960, and ten films later achieved legitimate status with the highly successful black comedy, `The Stunt Man’ in 1980, for which he received an Oscar nomination (along with his leading man, Peter O’Toole). He did not direct again until this film, some fourteen years later, and during that hiatus, Rush apparently lost whatever expertise he had accrued by 1980, and his `roots’ are clearly showing in this one. The violence of the film is inherent in the story, but Rush makes it unnecessarily graphic; and while this could have been an incisive and insightful character study (and intrinsically more interesting), he takes the low road, fleshing it out instead with scenes of gratuitous sex and nudity, as well as superfluous action (he works in no less than two ridiculous car chases, one culminating in a vehicle being pushed from the top of a high rise parking garage). Furthermore, he ignores motivations and character development almost entirely; the two areas that required the most attention if this film was going to work at all.

Rush especially lets his actors down, inasmuch as most of these characters presented real challenges that could have been met much more successfully with the help and guidance of the director. Rush would have served his actors, as well as himself, better had he taken the time to explore these people being portrayed with some depth. He apparently did not, however, and with one exception the performances by one and all suffer for it.

In 1994, Bruce Willis simply was not the accomplished actor he is today, and he, especially, could have used some help in finding his character. it was help he obviously did not get, and his Capa ends up being too much John McClane and not enough Malcom Crowe. Willis flounders between the two personalities, creating a kind of schizophrenic characterization that seriously affects the credibility of his portrayal. And it’s the same fate suffered by Scott Bakula here. Even in the scenes which places them in their `professional’ setting as psychoanalysts, they are simply not convincing.

Making the case of poor directing even stronger are the performances of Lesley Ann Warren (Sondra), Brad Dourif (Clark), Ruben Blades (Lt. Martinez) and Kevin J. O’Connor (Casey). Like Willis, all of them seem to have trouble defining their individual characters, vacillating between any number of personalities and unable to achieve that necessary, final focus. It’s the kind of indecisiveness that is usually resolved during rehearsals, but inexplicably made it to the screen here. The single exception is the performance turned in by Lance Henriksen, as Buck, who unlike his costars, somehow managed to find his character and make him convincing.

The odd-‘woman’-out of the entire bunch is Jane March, who as Rose has perhaps the most challenging role of all, and when given the opportunity actually displays some talent. Unfortunately, Rush– for the most part– uses her in a way that is demeaning and without merit, and she becomes the object of a sleight-of-hand that is nothing more than a cheap trick Rush pulls out of his hat. And by failing to use her in a more productive way, by not concentrating on developing her character (which is so vital to the story), Rush commits his most critical error of all.

The supporting cast includes Eriq La Salle (Detective Anderson), Jeff Corey (Ashland), Kathleen Wilhoite (Michelle), Shirley Knight (Edith Niedelmeyer), John Bower (Medical Examiner) and Andrew Lowrey (Dale Dexter). The high note of this entire project was played before it ever even got off the ground, that being the story itself; but screenwriters Matthew Chapman and Billy Ray proceeded to methodically remove any and all credibility it may have initially contained, and Rush took it from there, taking `Color of Night’ straight into that black hole reserved for movies that fail to deliver on their promise. It is not surprising that Rush has not directed a feature film since this one; once the magic is lost, it’s hard to retrieve. 2/10.

Review By: jhclues

Other Information:

Original Title Color of Night
Release Date 1994-08-19
Release Year 1994

Original Language en
Runtime 2 hr 1 min (121 min), 2 hr 13 min (133 min) (Argentina), 2 hr 20 min (140 min) (director’s cut) (USA)
Budget 40000000
Revenue 19726050
Status Released
Rated R
Genre Drama, Mystery, Romance
Director Richard Rush
Writer Billy Ray, Matthew Chapman
Actors Bruce Willis, Jane March, Rubén Blades
Country United States
Awards 2 wins & 11 nominations
Production Company N/A
Website N/A


Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Camera Arriflex 535
Laboratory Technicolor, Hollywood (CA), USA (prints)
Film Length N/A
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm

Color of Night 1994 123movies
Color of Night 1994 123movies
Color of Night 1994 123movies
Color of Night 1994 123movies
Original title Color of Night
TMDb Rating 5.7 472 votes

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