An Occasional Hell

This is not a stellar performance by Tom Berenger. This obvious low-budget movie does not make an impression. The plot seems to have many holes and the story line never really comes together. Berenger, a former cop, and now college professor is lured into finding the killer of a woman's husband and also tries to find the husband's lover. The movie's flashbacks are confusing and never make things that clear. The movie jumps around too much and it never gives the viewer a chance to get comfortable with any one character or situation. This movie falls short of expectations and is one of Berenger's saddest roles and performances. He never seems to be comfortable with his character and it seems way too obvious in this movie.

BUT - I wanted to thank John Gartner of Portland for his hilarious (and sometimes educational) comments!

I'm not sure which Berenger film I saw first, but he has warmed the cockles of my heart (to be genteel) from the first. In this flick, the shot where he reveals to his lover the dirty little secret underneath his shirt was worth the whole movie! - See, we gals can salivate over just a hint of the rest of what's there - or maybe it's just me, I'm an easy mark for a certain type of... ahem... torso, shall I say? But I'll never understand why guys are even attracted to that Daisy Mae-type critter - so obvious, so over-the-top; and here, she was really, really annoying, and just wouldn't go away! I, for one liked Berenger's deceptively easy-going southern man characterization. It doesn't have to be revolutionary if it works. As for his crying scene, I didn't think it was bad at all, as it was sudden and unexpected. To me, it was his lover's reaction that came across as forced and unconvincing.

What I like about this actor is that he often plays roles as what I consider a real man - he's a man's man, yet fully capable (sooner or later, often gradually) of connecting with a woman in a palpably tender way. If you think about it, there aren't many actors who can achieve this. They're either too intense at being tough to switch gears believably, or they're too obsessed with being proper at all times...sorta like a lot of actual people...

So, I guess I'll not heartily defend the script or the plot, etc., but I will vouch for Tom Berenger. In my book, he reliably adds quality to any film.

As the opening credits roll, there is a montage of Civil War photographs flashing on the screen. This is a definite reminder of two facts. the movie you are about to see takes place in the deep South ( as if that needed explaining), and that two Confederate Officers from the fabulous film "Gettysburg" are in "An Occasional Hell". So you get Tom Berenger and Stephen Lang, with Berenger given very little to work with, and Lang barely in the movie. Suspects abound but with little logic as to why they might commit a murder. I found this film to be confusing, unsatisfying, with a rushed conclusion, that makes little sense. Throw in the unending flashbacks, and what you are left with is a mess of a movie. Avoid. - MERK

Tom Berenger portrays a college professor who returns to his former line of duty as a detective when Valeria Golino hires him to investigate her husband's death. Berenger's character suffers from old wounds which inhibit his abilities and also induce some weird hallucinations.

So so mystery-thriller benefits heavily from Tom Berenger's outstanding performance as the tragic lead character. Too bad the script and bland direction couldn't do better, this is standard mediocre fare all the way. Robert Davi does a good supporting job, as does Valeria Golino. They all deserve better.

"An Occasional Hell" is a low point in Tom Berenger's career. His acting in this picture is so lifeless that when people refuse to tell him what they know about the case he's investigating, he looks as if he's about to say "Fine, what do I care anyway?". The script is so slow-moving that at times it doesn't seem to be moving at all, and the direction is so pedestrian that, without the brief flashes of nudity, this could easily pass off as a TV movie. Apparently everyone associated with this movie was just too tired to even try making something good out of it. Everyone, that is, except Kari Wuhrer, who is incredibly sexy as always, and gives the film its only spark; sadly, her role is all-too-brief. (*1/2)