Sliver

Apartment complex in New York City is beset with strange deaths and cameras everywhere; new tenant Sharon Stone is dating the mysterious owner, but could he be the killer? Based on a flimsy novel by Ira Levin (who was slumming, but that's a different story), this unappealing film wants to be both sexy crime-thriller and murder-mystery, but it is such a mess from a writer's standpoint that, in the end, all you have left are the performances, which aren't dynamic enough to carry the load. Sharon Stone performs in a low key and comes off somewhat self-conscious; this might have worked for her tentative character but, unfortunately, the filmmakers are so concerned with exposing the killer that they've lost track of this woman and her plight. Drop all the mystery, and you might have a decent character study. *1/2 from ****

I waited 18 years to see this movie because I had always heard how terrible it is. When it first came out, I seem to recall thinking it highly implausible that someone could have the kind of video and audio equipment you see in this movie. But the equipment and its use in the film is entirely plausible, even in 1993.

I found no problems with the plot. It's an interesting thriller with something that's hard to find--a unique story that hasn't been told a thousand times already. The acting is good. The characters and their actions are completely believable. I was never left thinking that a real person might not have done the things that the people in the movie did.

Having seen the movie, I really don't understand why so many people criticize it so harshly. In terms of telling a compelling, entertaining story, I would say it is far better than movies like Hereafter and on par with a movie like the Adjustment Bureau (just two recent movies I could think to compare it to).

If you haven't seen it, give it a chance.

"Sliver" was not nearly as bad as most reviewers have suggested, in my opinion. It may be true that Joe Eszterhas rehashes his basic formula one more time here - "Is the person with whom the hero/heroine gets sexually involved a murdered or an innocent victim, framed by someone else?" - but it's a formula that works, that grabs your attention instinctively. The plot is flimsy, yet inherently interesting. Maybe this thriller would've been tighter if the gratuitously protracted (and not very erotic) sex scenes had been trimmed down in length, but Baldwin is magnetic in his role and Sharon Stone, great to look at as always, also gives a decent performance; they both overshadow Tom Berenger who doesn't make even the slightest impression. (**)

Stone moves into an apartment building, has weird neighbors, spooky things start happening left and right, "perv" Baldwin watches her through surveillance cameras etc.

Sliver had potential. While it's not a total time waster it is very disappointing. Director Noyce doesn't seem to know exactly what kind of film he's making here, always promising something that never comes. Rumour has it that the film was drastically cut and re shot and the end result here is not satisfying, though I don't know what was originally planned, but it must have been better. It has it's moments, certain scenes work very well and suspense is easily built but not sustained. As said, the ending is ridiculous and really hurts the film.

Stone is simply a goddess and delivers a good performance but William Baldwin is utterly intolerable, why this man was given leading roles in big budget Hollywood films I will never know. The always reliable Tom Berenger isn't given much to do and his role is a rather thankless one, underwritten and somewhat degrading. Sadly his career went downhill from here on.

Stylistically this is one of the best films from the early-mid nineties. But style isn't substance. The script was less than perfect going into production, and several endings were filmed for lack of a clear resolution. But don't let that stop you from seeing this film. Stone and director Noyce polish a bad script into a fine music video. It's like watching VH1 merge with the Playboy channel. A fine soundtrack with an even better [unreleased] score from Howard Shore play well against the dramatic, color-rich backdrops and voyeuristic black and white camera shots. It's very easy on the eyes, and perfect for a $14 dvd (if they ever release it).