Deceptions II: Edge of Deception (1994) Poster

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Sexy Neo-Noir
claudio_carvalho20 November 2018
After losing his partner, the troublemaker Lieutenant Nicholas "Nick" Gentry (Stephen Shellen) is sent to therapy by Captain Harrelson (Ken Roberts) with the police psychiatrist. The promiscuous journalist Joan Branson (Mariel Hemingway) sexually harass Nick that rejects and prefers to stay alone in his apartment. Nick sees his sexy new neighbor moving to the building on the other side of the street and while peeping her through the window, he sees the aggressive treatment of her husband. Soon Nick sees he husband beating her and he goes to her apartment as if the police had received a call reporting their argument. Nick learns that the designer Irene Stadler (Jennifer Rubin) is married with her business partner Allan Stadler (Vladimir Kulich) and fears him. Nick and Irene have a love affair and Nick decides to intimidate Allan in a restaurant. During the night he sees Allan threatening Irene with a gun and he runs to their apartment and kills Allan. Now Detective Rains (Wally Dalton) has to investigate his fellow colleague that unravels dark secrets of his lover.

"Deceptions II: Edge of Deception" is a sexy neo-noir with a reasonable storyline. It is great to resee the gorgeous and hot Jennifer Rubin and Mariel Hemingway acting in a B-movie twenty-four years ago. The plot has flaws but is not so bad and entertains. My vote is five.

Title (Brazil):"Marcas da Traição" ("Marks of the Betrayal")
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Flimsy, predictable, low-budget "romantic thriller"
mysteriesfan23 April 2007
Warning: Spoilers
The background to this movie is that a police detective had allowed himself to get romantically involved with a suspect, with murderous consequences. This caused the detective to go into a tailspin and become a rowdy troublemaker. As the movie begins, he is taken off active duty after a drunken bar fight and required to report to a police psychiatrist. While cooling his heels in his low-rent apartment, he notices through the uncovered window of an apartment across the street a pretty, meek-seeming woman (Jennifer Rubin) in various seductive poses. He also sees her husband enter the apartment and apparently beat her up. He later meets the woman, who went into business with her husband and does design sketches. The cop is attracted to her, and tries to find out what is going on with the husband and warn him off. The cop begins a relationship with the woman.

As tensions mount, one day the cop sees from his window the husband burst into the couple's apartment waving a gun. The cop runs across the street and shoots the husband. The cop's bland, crude older partner is assigned to the case and starts turning up suspicious facts about the shooting. For example, the partner knows about the cop's confrontation with the husband in the days before the shooting and suspects that the cop is having an affair with the woman. It turns out that the husband's gun was broken and could not fire. And someone using the wife's name bought the gun from a street punk. The cop, now heavily involved with the woman, does his own investigating. Meanwhile, an unpleasant, coarse, trash-talking, leather-jacket-wearing, cigarette-smoking female reporter (Mariel Hemingway) keeps following him around, giving and asking for information about the case and peppering him with heavy sexual innuendo.

Two gift clues (a signed design sketch and an overseen piece of mail, which tie certain characters together) lead to the truth, while the cop himself becomes a target. The conclusion comes in badly explained, trumped-up, drawn-out, exaggerated seduction and confrontation scenes at a sleazy bar and motel. After a shootout, a character simply walks out of the motel, past the arriving police cars, and the credits roll. No attempt is made to give the events meaning.

The plot and characters are paper thin, ill-defined, and uninvolving. The story is predictable and slow-paced. The motive for what happens and the hidden relationship between two of the characters are poorly explained. And, as with everything in the movie, they are layered over with heavy-handed sexual content (which goes so far as to show brief glimpses of Rubin topless and to put Hemingway, clothes on, in a version of a lap dance) in the place of meaningful, entertaining storytelling. The unknown actor playing the cop brings nothing memorable to the role, except his long hair. The best that can be said is there is at least some attempt at a mystery plot, Rubin is demure and pretty playing her ineffectual character, and Hemingway, who annoyingly chews up the scenery in every scene she is in, has a couple of sexy moments.
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