Final Analysis was directed by Phil Joanou and written by Robert Berger and Wesley Strick. The film features Richard Gere, Kim Basinger, Uma Thurman, Eric Roberts, Keith David, Paul Guilfoyle, and Robert Harper. George Fenton composed the music, and Jordan Cronenweth served as cinematographer. The story centers on a psychiatrist who develops a romantic relationship with the sister of one of his patients. As someone who writes about movies, there’s that occasional film where your opinion diverges significantly from what most people think—Final Analysis is like that for me. It's not some brilliant, overlooked masterpiece, but after revisiting it more than twenty-five years later, I’ve come to appreciate it far more than I did initially. I consider Alfred Hitchcock my favorite director of all time, and I'm always open to films that pay homage to him or explore similar themes. In fact, I find it encouraging that he continues to influence contemporary filmmakers. My deep dive into film noir for the past fifteen years has also allowed me to recognize noir elements in movies often dismissed as part of the neo-noir genre. Final Analysis feels very much like a Hitchcock film, but in a lighter fashion—almost like an illegitimate child of "Vertigo." It even carries echoes of De Palma, who was one of the best at crafting suspenseful films inspired by Hitchcock. The movie occasionally stumbles and feels awkward; Joanou didn’t quite build on the promise he showed with his 1990 neo-noir film, “State of Grace.” Extending the story to two hours by adding twist after twist is a misstep when the writing isn't strong enough to move beyond familiar Hitchcock conventions. Despite this, the foundation of a noir world—complete with two femme fatales, Freudian undertones, and explorations of a dark, mysterious atmosphere—is quite striking. The visuals are excellent (filmed in various California locations), thanks to the work of the cinematographer who also shot “Blade Runner.” There are many beautiful shots: light filtering through blinds, upward camera angles highlighting spiral patterns, vibrant colors, and courtroom scenes that evoke the style later perfected by Roger Deakins. The acting isn't something I’d rave about, but it doesn’t detract from the film either. While I enjoy Richard Gere’s work, he seems to be going through the motions here—something Joanou should have addressed. Kim Basinger brings a certain appeal to her role, though her character doesn’t truly come alive until later in the movie; the same goes for Uma Thurman as the sister. Keith David's presence feels limited, mostly serving as a reference point at different times. However, Eric Roberts delivers a performance brimming with smarmy charm and underlying menace, and Paul Guilfoyle is well-cast as the lawyer balancing legal determination with personal desires. I can’t wholeheartedly recommend it, but fans of neo-noir or Hitchcock films might find a second viewing worthwhile when examining its components. 7/10

Source on TMDB