Two Shades Of Blue

  • 2000
  • 1 HR 46 MIN
  • R

Supermodel Rachel Hunter behaves more nimbly in her workout videos than she does in this wretched sex thriller. Though the script would have defeated the efforts of a far more experienced actress, tyro Hunter falls back on pin-up girl expressions as she were doing a photo-shoot with a mystery theme. Celebrated author Susan Price (Rachel Hunter) has reason...read more

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Reviewed by Robert Pardi
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Supermodel Rachel Hunter behaves more nimbly in her workout videos than she does in this wretched sex thriller. Though the script would have defeated the efforts of a far more experienced actress, tyro Hunter falls back on pin-up girl expressions as she were doing a photo-shoot with a mystery theme. Celebrated author Susan Price (Rachel Hunter) has reason to question how her mogul main-squeeze, Jack Reynolds (Gary Busey), acquired his fortune. Each time Jack suffers a financial reversal, he calls hitman Calvin Stash (Eric Roberts), using a special system for the deaf that prevents police from tracing his confidential conversations. One night, a masked man intrudes on Jack's love nest, apparently kills Jack and sets fire to the corpse. Police suspect Susan of murder, so she goes undercover and learns that Jack recently cleaned out their joint account. In hopes of gathering evidence that will help her clear herself, Susan trains as a receptionist at Pacific Relay, the telecommunication's company used by hearing-impaired clients and Jack. Before long, Susan gains eavesdropping expertise and acts as the operator for conversations between hearing-impaired D.A. Beth McDaniels (Marlee Matlin) and her new flame...Calvin Stash! As Susan continues to snoop, Calvin murders Pacific Relay Operator 299 (Matt Saha), who has been blackmailing Jack. Then he closes in on Beth, who could implicate Calvin in Jack's criminal past. Although Beth doesn't dismiss Susan's accusations, Susan, who's already burned from having been falsely accused, doesn't know who to trust. Aided by a handsome co-worker, Susan tries to save Beth and elude Calvin. Will the police finally accept her innocence and spring her from a series of traps set by Calvin and his surprise accomplices? Thrillers that rely on elaborate double- and triple crosses are fatally undermined by hack direction and shrill performers. Not only does James D. Decker habitually shoot scenes as if they were shouting matches, but screenwriter Ted Williams introduces that interesting technology for the deaf, then fails to take full advantage of its dramatic possibilities.

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