"The Temp," released on February 12, 1993, and directed by the acclaimed Tom Holland, is a film that straddles the line between horror and dark comedy, offering a unique take on the thriller genre. Known for his work in classics such as "Child’s Play," "Psycho 2," and "Fright Night," Holland brings his distinct style to this lesser-known gem from the early '90s. Despite its critical and commercial underperformance upon release, "The Temp" has since garnered a cult following for its unconventional narrative and stylistic choices.
The film centers around Peter Durns (played by Timothy Hutton), a marketing executive for a cookie company, who is on the mend after a nervous breakdown. Upon his return to work, he is assigned a temporary assistant, Kris Bolin (Lara Flynn Boyle), who is determined to climb the corporate ladder at any cost. As the plot unfolds, Kris's efficiency extends beyond the office tasks, leading to a series of deadly incidents that clear the way for her upward mobility. Peter, still recovering from his paranoia, finds himself caught in a web of murder and deceit, unsure of where reality ends and Kris's machinations begin.
Tom Holland's direction is a standout aspect of "The Temp." His experience in the horror genre is evident in the film's atmospheric and suspenseful scenes. Holland's stylistic choices veer between horror, mature drama, and erotic thriller, making for a tonally uneven but wildly entertaining experience. The film's climax, set in a cookie factory, is a testament to Holland's ability to create memorable and unconventional set pieces. His direction adds a layer of dark humor to the narrative, which, while divisive among critics, is a refreshing take on the "psycho bitch" sub-genre.
Timothy Hutton delivers a nuanced performance as Peter, effectively portraying a man on the brink of a breakdown. His portrayal of Peter's increasing paranoia and desperation is both believable and engaging. Lara Flynn Boyle's portrayal of Kris is equally compelling. Her character is a sexually charged enigma, a puzzle box that Peter struggles to unlock. The dynamic between the two leads is the heart of the film, with their cat-and-mouse game driving the narrative forward.
"The Temp" has been criticized for its derivative nature, with some critics pointing out similarities to other films in the "conniving woman" sub-genre, such as "The Hand That Rocks the Cradle" and "Fatal Attraction." However, the film's charm lies in its execution and the performances of its lead actors. Despite its familiar ground, the film offers a compelling third act and a world-building that pays off in its bloody conclusion.
The film's reception has been mixed, with some critics finding the film's premise intriguing and its execution commendable, while others felt it was a rehash of familiar themes. However, as with many films that do not immediately find their audience, "The Temp" has found appreciation among fans of '80s and '90s thrillers, who appreciate its unique blend of genres and its commitment to a darkly comedic tone.
In conclusion, "The Temp" is a film that, while not without its flaws, offers a distinctive viewing experience. Tom Holland's direction and the performances of Timothy Hutton and Lara Flynn Boyle elevate the material beyond its familiar premise. The film's blend of horror, drama, and dark comedy, along with its memorable climax, make it a cult classic worthy of revisiting. For fans of the thriller genre and those interested in exploring the less mainstream offerings of the '90s cinema, "The Temp" is a hidden gem that is well worth the watch.
"The Temp," released on February 12, 1993, and directed by the acclaimed Tom Holland, is a film that straddles the line between horror and dark comedy, offering a unique take on the thriller genre. Known for his work in classics such as "Child’s Play," "Psycho 2," and "Fright Night," Holland brings his distinct style to this lesser-known gem from the early '90s. Despite its critical and commercial underperformance upon release, "The Temp" has since garnered a cult following for its unconventional narrative and stylistic choices.
The film centers around Peter Durns (played by Timothy Hutton), a marketing executive for a cookie company, who is on the mend after a nervous breakdown. Upon his return to work, he is assigned a temporary assistant, Kris Bolin (Lara Flynn Boyle), who is determined to climb the corporate ladder at any cost. As the plot unfolds, Kris's efficiency extends beyond the office tasks, leading to a series of deadly incidents that clear the way for her upward mobility. Peter, still recovering from his paranoia, finds himself caught in a web of murder and deceit, unsure of where reality ends and Kris's machinations begin.
Tom Holland's direction is a standout aspect of "The Temp." His experience in the horror genre is evident in the film's atmospheric and suspenseful scenes. Holland's stylistic choices veer between horror, mature drama, and erotic thriller, making for a tonally uneven but wildly entertaining experience. The film's climax, set in a cookie factory, is a testament to Holland's ability to create memorable and unconventional set pieces. His direction adds a layer of dark humor to the narrative, which, while divisive among critics, is a refreshing take on the "psycho bitch" sub-genre.
Timothy Hutton delivers a nuanced performance as Peter, effectively portraying a man on the brink of a breakdown. His portrayal of Peter's increasing paranoia and desperation is both believable and engaging. Lara Flynn Boyle's portrayal of Kris is equally compelling. Her character is a sexually charged enigma, a puzzle box that Peter struggles to unlock. The dynamic between the two leads is the heart of the film, with their cat-and-mouse game driving the narrative forward.
"The Temp" has been criticized for its derivative nature, with some critics pointing out similarities to other films in the "conniving woman" sub-genre, such as "The Hand That Rocks the Cradle" and "Fatal Attraction." However, the film's charm lies in its execution and the performances of its lead actors. Despite its familiar ground, the film offers a compelling third act and a world-building that pays off in its bloody conclusion.
The film's reception has been mixed, with some critics finding the film's premise intriguing and its execution commendable, while others felt it was a rehash of familiar themes. However, as with many films that do not immediately find their audience, "The Temp" has found appreciation among fans of '80s and '90s thrillers, who appreciate its unique blend of genres and its commitment to a darkly comedic tone.
In conclusion, "The Temp" is a film that, while not without its flaws, offers a distinctive viewing experience. Tom Holland's direction and the performances of Timothy Hutton and Lara Flynn Boyle elevate the material beyond its familiar premise. The film's blend of horror, drama, and dark comedy, along with its memorable climax, make it a cult classic worthy of revisiting. For fans of the thriller genre and those interested in exploring the less mainstream offerings of the '90s cinema, "The Temp" is a hidden gem that is well worth the watch.
可爱的唐娜(双峰 Twin Peaks 中劳拉的好闺蜜)扮演蛇蝎美人,所以决定看这部片。
女老板当初决定出演角色,因为觉得这部片会成为热门类型,从而观众会更加熟悉自己,然而上映后口碑的稀烂和640W本土票房(成本1500W),让她彻底错付了。祸不单行的是,还因出演此片获得了金酸梅最差女配角。本片是90年代新黑色电影中,以蛇蝎美人为关注焦点的类型中的一员,热度却远不及本能,也就别指望这一次积累人气了。
IMDB的电影页面会有电影中的穿帮镜头,制作历程这类的电影相关趣闻贴士,里面提到女老板的演员,曾有传言因为不想有出演坏人的印象,从而要求对结局做出修改。查到这条消息立即让我有了继续搜索下去的兴趣,也找到了大家觉得结局诡异或者扯屁的原因。
更多细节可自行查看
此处列出一些和结局有关的信息:联合编剧 Engelman 提到原本的结局是更喜剧化的,并且应该是一部更直球的惊悚片。意思是没有这么多的反转,那就看看原始的结局吧:Peter和可爱的唐娜最后在工厂里死斗,两人掉到运转的传送带上,纠缠中唐娜的手被机器切割掉了,随后被传送带送到烤箱里,可爱的唐娜变成了可爱的“有毒”饼干。
测试观众在看完后都觉得原始结局恐怖,制作方派拉蒙开始修改剧本,其中有好多备选方案,比如有的是女老板为真凶,有的是唐娜是真凶。至于死斗,那就开始配对吧,女老板和Peter死斗,或者Peter和唐娜死斗,要不然就唐娜开撕女老板。总之最终敲定的结局就是成片中所示。
有趣,真的有趣,或者说太搞了,片中唐娜在工厂测试新品时,提议加入糖蜜。在电影制作过程中通过反馈加以调试也是正常的操作,这一次的 新配料,把本片变成了票房毒药。女老板的扮演者在自传里提到无论新结局如何,也救不了电影,进入最后的工厂片段时,电影已经死了至少1个小时了。似是而非、莫名其妙的新结局是这个“有毒”的工业制品中主要毒害物质吗?因人而异,看豆瓣里的评论,有对剧情和结局的分析,下面也有人表示认同,也不知道这些观众是否知道片外的制作历程。经历过编剧更换和结局重写后的作品,分析剧情,就像看到弗兰肯斯坦拼接好后,分析他的性格和人生历程,感觉有些怪异的趣味。包含本片的片单里,有一个是 资本运作,指的我猜是电影故事,应该不是这块“有毒”的饼干吧?
Lara Flynn Boyle真是美,以至于太过妖艳,而可塑空间狭窄。大半辈子过去了,几乎没有什么以性格塑造的角色。让人记住的大都是精致的面庞、野性的眼神、嘴角的痣、摇曳生姿的步态,专业的“妖精”一枚。
老了,那曾经让人惊诧的美艳就衰落至尴尬。她的美丽传奇已经破碎。
《致命女秘书》。6分。
汤姆·霍兰德导演,蒂莫西·赫顿、拉腊·弗林·鲍尔主演作品。
男主并不是废柴,相反还是公司高管,水平很不错;女主也不是个简单的心机婊,相反,她不仅霸道,而且业务能力也非常强,甚至事无巨细,都做得井井有条。
男主的男助理休产假,女助理做起了临时秘书,她大胆的穿着风格以及艳丽的外表不仅令男主神魂颠倒,也令办公室气象一新。
但很快,男主就发现自己的工作几乎快要被女主取代,这令他不得不思考如何应对局面,同时着手调查下女主的来龙去脉。
应该说故事并不复杂,也不高深,但导演汤姆·霍兰德在处理上让全片显得十分悬疑,甚至氛围惊悚,尤其男主追踪女主回家,女主独自一人躺在床上自嗨的桥段,令人十分费解。
但无论如何,不得不说,拉腊·弗林·鲍尔确实十分美丽动人。
我想说这部片子的编剧真的这么差吗?如果这样收尾,那么开头那一段该怎么解释呢?几个疑问:影片开头放到的男主角在干什么?为什么在男主角偷偷的调查中并没有发现女秘书在前任公司所谓的不好?即使有个上司心脏突发去世了,但她的同事们都同情女秘书说和女秘书无关,是他的上司和另外的实习生有染,而且领导将升迁的机会给了实习生没有给女秘书。男主角也是参与高层的竞争的,为什么女秘书处处都对他手下留情呢?为什么每次都是男主角第一个发现凶案现场?为什么女秘书要杀他却和他同坐一辆车呢,而且车还是男主角开的?男主角一下车就找到车子问题所在。最后女高层为什么要打男主角呢?而拉住女高层不让她打男主角,并且报警的却是女秘书呢?为什么男主角和他的铁哥们在雨中打斗时会说出怀疑铁哥们要抢她秘书抢他老婆的恶毒的话?
如果仔细看的话,你会发现,一开始和男主角说话的是他的心理医生,这个男主角有很严重的心理问题,并且有双重人格,另一个人格的名字叫“海德”。(这个名字在开头心理访问时,医生说过。在和女秘书酒吧聊天时,男主角自己也提起过)“海德”嫉妒心理严重,怀疑所有的人,即使是身边最亲近的人,往往把事情往最坏的方向考虑,并且有严重暴力倾向。(开头心理访问时,医生说只有当海德真正死了,才能见到雪莉他老婆,他自己也和女秘书说过他和他老婆分手的原因是,他怀疑他老婆和上司有染,踢坏上司的门硬闯,发现他老婆在上司家吃饭,上司的老婆和孩子都在。在影片中只要一有问题,时不时地会看到男主角预约心理医生,给医生打电话,当医生不在时,他情绪波动很难控制,动手打了排在他身后等电话的黑人就能看出)这解释了男主角的心理问题并没有影片开头说的那样痊愈了,当工作压力增大时,高层将要发生变化,让他原有的心理问题又一次迸发,这次显现在工作问题上,在他看来,每个人都是他的竞争对手,都阻碍他升迁的机会,这时进来的一个秘书,工作能力非常强,从他自己的话(我喜欢往最坏的方面去想 ),女秘书也是一个强有力的对手。第一个死掉的男高层,是男主角最不喜欢的,他是被虫叮死的,知道这个信息的不止女秘书一人,在场的所有人都知道包括男主角,更奇怪的是,他死的那辆车正好停在男主角堵车经过的地方,堵车的过程中没有一个人发现死者,却正好是男主角发现,如果是女秘书杀的好像女秘书能预知未来一样,预知那里一定会堵车,预知男主角一定会发现?第二个男高层是上吊死的,在死之前,他把女秘书升迁了,还遭到了男主角和另一个女高层的嫉妒和愤恨,如果是这样为什么女秘书会让他死呢?他死了对她也没好处。如果说是女秘书有把柄在他手中的话,综观影片,女秘书的把柄无非是低学历,没孩子没结婚,这些后来发现最大的女高层也是早就知道并默认的。所以认为男高层死的最大受益人是,男主角和另一个女高层,因为女秘书在食品厂房当着男高层、男主角、女高层的面前的那种专业,让男高层看中了女秘书的能力,她的工作能力让男主角们自愧不如,心理非常害怕她阻碍他们的升迁,男高层和女的最高层越喜欢她越重用她,男主角就越害怕越紧张。男高层最后吊死的地方也是在下班后,公司没有人的地方,男主角第一个发现的,周围一个人都没有只有电脑传来的声音,是男声,这么巧男主角为什么这么晚也不回去。这里再说说男主角的男秘书,男秘书受伤对谁有益?当男主角最需要男秘书帮忙的时候,男秘书的老婆孩子要生了,男主角尽力挽留他帮忙都没留住,他心理很生气,幸亏女秘书来了,帮助他完成了不可能完成的任务,让男主角对女秘书刮目相看,由此产生工作上的依恋(饼干罐的策划都是让女秘书帮忙想的),男主角的内心来讲很需要女秘书的帮忙,但是从情理上来讲男秘书正需要养家糊口,当女秘书提出要留下来时,表面上他拒绝女秘书留下来的要求,实际他内心非常矛盾,尤其听说女秘书将要到他对立面的男高层那工作,心理更加不愿意了,他宁愿不要一个困难之时帮不到忙得男秘书,也不能让得力的女秘书去帮助敌人,因此制造男秘书受伤的只应该是男主角。
在影片中展现男主角双重人格的一个情景是,发生了泄密事件后,在和铁哥们打完架后,铁哥们扔了几张钞票就走了,而第二天男主角发现自己躺在了床上,试问,他是怎么回去的?铁哥们送回家的?不会,路人送的?不会,只有他自己回去的,这天他喝酒不多,这天他想打电话给医生没有打到,连他的铁哥们他都打,所以这天最有可能的是他的双重人格出现了,他对自己所做的事完全不记得,他和他铁哥们的关系也随着剧情的发展越来越差了,其实是他病病得越来越重的表现。在面对他人时有时是他自己,他记得,也是我们看到的时候。有时是“海德”,也是我们没有看到却发生案件的时候。
最大的女高层怎么会死呢?女高层早就说过了,她背后的箭比谁的都多。女高层最为看重的谁?女秘书。女高层的死谁会受益?男主角每次看到女高层单独和女秘书谈话,他就怀疑女高层和女秘书有染(那不就是同性恋吗),心里那个羡慕嫉妒恨啊!每个人都看得出来,如果女高层不死,谁能坐到高层,男主角估计很有可能是女秘书,所以女高层或女秘书必须得死。还有一个地方可以佐证女秘书不想不择手段升迁的是,当发生泄密事件后,女秘书为男主角找到了证据帮助男主角摆脱嫌疑,这点女高层亲口告诉了男主角,它也加深了男主角担心女高层厚爱女秘书的疑虑。在工厂里,另一个女高层的背上插了一把女秘书送男主角的削纸刀,女秘书也受了伤,我估计这些阴谋可能是男主角和另一个想要升迁的女高层一起合谋的。(证据是另一个女高层也在调查女秘书,想要挤走她)从种种迹象来看,似乎应该是他们约了女秘书和女高层,想要干掉她们,但是没想到女高层打赢了她们,女秘书爱着男主角以为是女高层要害男主角,上前帮忙,男主角把女高层推下,在那一刹那他发现原来最大的女高层怀疑是女秘书有问题,索性把责任都推到女秘书身上,而且知道他秘密的另一个女高层死了,所以事情推到女秘书身上,女秘书又一次成为了牺牲品(这也是女秘书的悲哀,好不容易遇到了不色的上司,却有又成为了高层斗争的牺牲品)。最终,男主角肯定没有证据证明人是女秘书杀的,但女秘书留着总是危害,因此以此她低学历和骗人说她结婚有孩子为借口,让她离职,而不是请他进警局,因为真正杀人的他,真正坐上最高层位置的也是他,和最好的朋友弄僵放心和妻子在一起,不用担心朋友抢妻子的也是他,看心理医生的是他,引用最后女秘书对男主角说的一句话:最爱找理由的应该是你才对!