首先，豆瓣簡介如下： 　　“布麗姬（琳達?費奧倫蒂諾 Linda Fiorentino 飾）的丈夫是一名毒販，不過她比她的丈夫更“毒”。她乘丈夫不留意的時候，將他販毒所得的巨款洗掠一空，攜款從美國繁華的紐約市跑到了西班牙巴塞羅那郊區(qū)的一個小鎮(zhèn)上去享受她的快樂人生。布麗姬看上了當?shù)靥煺鏌o暇的帥哥康奧尼爾，同時，另一位金發(fā)美女也看上了康奧尼爾。老謀深算的布麗姬設(shè)下一個又一個的圈套牢牢套住了康奧尼爾，將情敵打得落花流水?？磥聿见惣У娜松鷮⒗^續(xù)在她的掌控中順利展開?！? 　　這個簡介不知道誰寫的，第一，根本沒有女主和什么金發(fā)女郎情敵斗爭的故事。。。胡說八道。。。兩個版本都沒有這些。。。第二，女主是在去芝加哥的路上停下了，因為沒有汽油了，地點是 柏斯頓，距離芝加哥 10-12 小時的車程。。。 　　D9 加長版在25分鐘后，大略增加了下面一些內(nèi)容，藍光暫時沒有加長版。。。 　　1、辦公室大約增加了2段，都是女主在做電話推銷培訓員工的情節(jié)，大概在于體現(xiàn)女主的強勢性格。。。另外，和后面告訴男主如何從電話名單中，曬選被冷落的妻子，這個情節(jié)來互相呼應(yīng)。。。 　　2、女主在汽車旅館，獨自抱著現(xiàn)金睡覺，以及收看有線電視花花公子后花屏的情節(jié)。。。估計是為了表示女主很孤獨，以及她為啥有了性趣去勾引男主。。。 　　3、女主半夜看到街道外有汽車，紅色的那輛。。。估計是表示男主的依戀？懶得想了。。。 　　4、女主在新地方訂閱了紐約時報。。。 　　　女主路怒癥發(fā)作，對過路的老太太猛按喇叭。。。 　　　女主的上司道歉男主騷擾了她，其實是故意，為了在辦公室保持距離。。。 　　5、其他的幾段，都是女主和男主的互動，包括在酒吧的簡短聊天，以及半夜去中學的體育教室聊天做愛，還有男主早上起床后發(fā)現(xiàn)被拷在床頭而女主出去了，等女主回來后，兩人互相噴口水最后OOXX。。。 　　這里的一段估計是最長的，主要是表現(xiàn)男主是如何一步一步地迷戀上了女主，最后愿意為了她殺人。。。 　　總的來說，刪減的都是些小細節(jié)，影響不是很大，但如果有了的話，對女主的人物形象塑造會更加充實，也能使得男主迷戀上她會顯得更加真實可信。。。 　　如果你看的是藍光，再能夠看到我這篇補充的話，加長版可以不用看了。。。節(jié)省點時間。。。 　　8.0/10 分。女主和女主丈夫的表演都非常不錯。 　　琳達·費奧倫蒂諾 Linda Fiorentino 　　1994 年，35歲的她以“黑寡婦”形象主演了《最后的誘惑》，而一舉榮獲紐約影評人協(xié)會及美國獨立精神獎最佳女主角獎，并成為奧斯卡最佳女主角提名的一匹黑馬。 　　1995 年，琳達被美國的《人物》雜志評為全球最漂亮的50位人物之一。

An American Neo-Noir thriller on the heels of BASIC INSTINCT (1992), trying to cash in on the splash of erotic charge, but story-wise John Dahl’s THE LAST SEDUCTIONechoes more of Lawrence Kasdan’s sweltering BODY HEAT (1981), meanwhile stoutly posits its focal point in its femme fatale Bridget Gregory (Fiorentino). On the spur of the moment (after being slapped by her doctor-in-training husband Clay), Bridget decamps from NYC with the $700,000 Clay (Pullman) has just obtained by selling stolen pharmaceutical cocaine to two drug dealers, and fetches up in a small town called Beston near Buffalo. Using an alias to lie low when her lawyer is seeking to facilitate a divorce from Clay, Bridget hooks up with a local man Mike (Berg) for sexual gratification and patly rebuffs the latter’s knowing-each-other-more overtures, unlike Kathleen Turner using her body to entice William Hurt into her husband-killing plan in BODY HEAT, here Bridget’s motive is purely carnal (at least initially), and there is a comical vibe oozing from Mike’s dorky frustration of trying to deepen their liaison to little avail, he is her sex toy and he well twigs that she is too smart, too dangerous for his own good, but when the sensual satisfaction is mutually transmitted, a man of Mike’s wit just cannot make any wise decision because they all tend to live in the wish-fulfillment that their sexual prowess can eventually tame the lioness both physically and mentally. But Mike is not a lion, he is just an ordinary Joe with average sexual allure and common codes of moral behavior. On the other hand, Bridget is not promiscuous in spite of her horny predisposition, Mike has remained as her only bedfellow under the circumstances, but when she needs someone to do away with Clay, who hires a private detective and is bent on having his doles back, she must wheedle a law-abiding Mike into a murderous vigilante, and this transitional arc is the meat of this erotic indie, and who would expect it is the deepest shame of homosexuality becomes the ultimate fillip in Bridget’s cunning scheme. The film is soft-core in sight but ingrained feminist on the strength of Steve Baranick’s sometimes incoherent (if Bridget simples leaves and starts anew somewhere, never resorts to a divorce and never contacts Clay again, there will be a very different story to be told)but piquantly subversive script albeit its male angle, and Linda Fiorentino shall be hallowed as one of the most iconic femmes fatales in the film-noir history, her lethal sex appeal is never feel contrived, or rehearsed to flaunt or conquer, but strangely spontaneous, she can talk about risqué stuff as if she is narrating a poem (in the scene where she manipulates the black private eye played by Bill Nunn) and never degrades her part into hokum, Bridget is lack of empathy, predatory, sly but also whip-smart, dominant and intuitively self-empowering, she is not a woman you want to be entangled with, but it doesn’t hurt to put her on a pedestal for being uncompromisingly true to herself. Peter Berg’s Mike is on a lesser note in terms of extraordinariness, an exceptional decision for him to convert to a career of directing blockbusters (HANCOCK 2008, BATTLESHIP 2012) and Mark Wahlberg vehicles. Bill Pullman is another humdinger here, poles away from his usual good-guy image, heis hilariously wackyand uncouthly sympatheticin this city-trash-versus-small-town-simpleton throw-down, for once, justice may not be proper served, but we all prefer this way!

referential points: Dahl’s ROUNDERS (1998, 5.9/10); Paul Verhoeven's BASIC INSTINCT (1992, 7.0/10), Lawrence Kasdan'sBODY HEAT (1981, 7.9/10)

普爾曼說了一句話很有道理，就因為我打了你一記耳光，所以你要這么做嗎，不，沒這么簡單。這女的殺死前夫，送炮友進監(jiān)獄，順帶殺個偵探。這一切是為了什么呢？愛我就要無條件支持我，總統(tǒng)讓你殺人你殺嗎？這他媽是什么邏輯？這電影有另外一個結(jié)局，最后是女主的律師弗蘭克去探視麥克，最后得知郵箱的標志卡希爾，然后打電話通知女主是不是忽略了一些細節(jié)，最后女主才燒了標志。最后還讓弗蘭克傳話給邁克，做愛不僅僅是做愛。好可怕的女人。