INTERSECTION
A film review by Jon A. Webb
Copyright 1994 Jon A. Webb
Sometimes it's possible to imagine the "pitch" for a movie (as was depicted in THE PLAYER) after seeing it. But with INTERSECTION I can only imagine the first half. "Okay, you've got Richard Gere, Lolita Davidovich, and Sharon Stone. Gere can't decide between them." "All right, what happens?" "Uh...."
Basically, there's no plot in this film. Gere can't decide between Stone and Davidovich (I guess this is the kind of choice we're all expected to be able to sympathize with) and, well....
Coupled to this is the problem that Gere seems (as usual) unable to act, and Davidovich seems poorly directed. Stone actually demonstrates her serious aspirations by actually portraying a character, and Martin Landau has a scene or two in which he demonstrates that his career revival started by CRIMES AND MISDEMEANORS was justified. But that's about it.
The movie is filmed in the Pacific Northwest, in and around Vancouver, and the scenery looks great. Gere also looks good, though his tan doesn't quite fit in with the idea that he's a hardworking architect in that rainy region. Perhaps he has a home tanning booth.
The girl who portrays Gere's daughter is quite appealing. I don't know what it is, but she really seems to steal scenes. Of course, that's not saying a great deal, considering she's stealing them from Gere, but she exhibits a great deal more talent than one would expect from someone of her age in as limp a film as this. Perhaps she got some pointers from Stone.
If you like to see Gere, Stone, and Davidovich, you could look through old "Vanity Fair"s, or you could go see this film. Your choice. One word of warning: don't go if you're looking for a peek or two under Sharon Stone's garments, because she stays pretty much covered up here. She's supposed to be sexually repressed. Davidovich presents the lusty contrast. As I say, Gere has a hard time making up his mind.
-- J
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