Ogosmith Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Billie Morin This movie feels like it was made purely to piss off people who want good shows

Ella-May O'Brien Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Kayden This is a dark and sometimes deeply uncomfortable drama

videorama-759-859391 Jade is a who killings who thriller, sexy, violent and very stylish. Caruso is so cool as the D.A., and watch him when he gets behind the wheel, when seeing him in two riveting scenes. A powerful political figure, who has a lot of dirt on people, is murdered quite gruesomely in this Basic instinctish, no surprise penned by the same guy, who must be the envy of budding or established screen writers. One of the suspects, is a old flame of Caruso's (Fiorentino-sexy as hell in lingerie) who unfortunately ended up marrying his more successful lawyer friend, (Chazz, can't spell his last name) and Caruso shows his hidden envy well. So we got a love triangle, to complicate matters. More suspects surface, mostly political ones, as the more obsessed Caruso, delves deeper into this investigation, thus, more killings ensue, linked to the illustrious faceless hottie, nicknamed Jade. He so wants to clear Fiorentino, it may kill him. Jade rides high on style, that I so much appreciated, with powerful performances by all, and a tight script, a puzzle if you will, you'd like to dissect, again open ended like Instinct, followed by a shock admittance, but may'be it's the sleazy elements, over the top/sick if stylish violence, and some unsavoury characters that bring it down. It is great too, to see warring D.A., Biehn and Caruso, go at each other, plus have a veteran kinky cop, as Caruso's sidekick. I can't find myself to rate it higher than the score I've given it, although deep down, as a fan of Eszterhas's writing, (I love every movie I've seen, that he's written) Jade is a guilty pleasure. I write my reviews on quality. Big difference me liking them, as I like this one a lot. I mean, it even makes pussy hair look stylish. A cut scene, prior to it's last, in another version I saw, kind of put a rain on my parade, as far as Caruso's intentions were concerned.

Raul Faust Well, everybody probably knows how erotic suspenseful thrillers used to be in 90's, and this movie is no exception. As every movie with such specific subject, "Jade" begins with a main suspect of committing a murderer. In this kind of movie, sometimes he turns out to be the real killer, whilst in other times, it is someone we'd never expect. Trina had everything to be the murderer out there; I strongly thought so when she said "ask that girl if I'm jade", since I believed she already knew that girl was dead and was playing fool. Unfortunately, this movie doesn't have tension scenes to develop a remarkable movie, being too light most of the time. In the last scenes we have a distinct reference to 1980's "The Shining", whether William Friedkin admits it or not. It is, all in all, an entertaining film in every aspect, but never truly gives what you might wish for a suspenseful night.

MisterWhiplash Jade is the kind of cinema where the director who has some genuine talent and vision, if not consistently then strong when the iron hits, has to try and make something out of hackwork. Joe Esztherhas may have been well paid during his time in the limelight of the early-mid 90's and had some successes as a writer, but for all of his erotically-charged bizarre flourishes, there was always the air of hackwork in his script, but here the hack comes to roost. This has scintillating plot details and twists - especially, and ludicrously, in the final fifteen minutes where it piles up to ludicrous heights - and not really much soul at all.Oh sure, there are characters, and they want things and feel betrayals and go about the motions of the script, and there's some dirty sex here and there (mostly caught on grainy voyeuristic radio), but I don't know if I really gave a dam about most of the main characters. The actors are probably trying to, especially David Caruso as he mostly tries to underplay what could have been scenery-chewing times for another actor. But they also are kind of prisoners of a screenplay that is just... I don't know, except that while some of the dialog isn't terrible, some of it is. Some of it made me cringe, and some of it had me laughing.So why the high rating? Why recommend it even partially? Because Friedkin is still at the helm, and he has fun here. And in ways I wasn't quite expecting. Sometimes he'll just mess with the actors on set - there's a cat that appears in the hallway of where the cops walk around, and I can be pretty sure that wasn't a detail outlined in the script (and it's a fine detail to throw in there). And there is a car chase - roll eyes, again, from Friedkin, can't he do that in his sleep - and it's STILL unique to his world. This time he has some kind of perverse enjoyment with a) having just over-the-top car stunts as cars fly through the air practically on San Fransisco streets, and then going 2 miles an hour in a Chinatown parade where the citizens attack both the predator and prey! What happens then in this story of backstabbing and murder and "deviant" sex and politics and so on, real pulpy - nay, just pot-boiler material - is that the simple style of it, how the direction is oddly elegant and experimental in some small ways, makes what is otherwise crap watchable. Maybe I'll even revisit it at 3 in the morning on cable.

tedg I think this may have been successful in its day, simply because of the sex. There is the appearance of some sex acts on the screen presented in a couple voyeuristic contexts, but I think the target was a much deeper appeal: a whole world driven by insatiable, conventionally deviant female sex drive. The writer had previously cashed in with this idea and Hollywood chose to try again but with a real director. This formula isn't just about sex, its about turning the noir mechanics on its head. Noir depends on an outside fate that arbitrarily throws strangers together in situations that are designed for and controlled by the values of watching, outside the world of the action.Here, everyone knows each other beforehand. There are essentially no strangers. The driving force is supernatural as in noir, but it is rooted in and owned by the people we see. Its simple sexual desire, lust.The story is ordinary, the sex unconvincingly simulated. Even the automotive stunts are limp. There's some craft in how it is put together visually though, enough to keep me engaged.But there is one remarkable feature. The score is hypnotizing. It is bicameral, both halves based on prototypical themes. The male theme: lustful, uncontrollable and apt to be violent is from (almost directly) Stravinski's Rite of Spring. Its wildly erotic, threatening, dangerous. The female side (until the end that is) is a Celtic anthem, soft, passive, receptive, drifting.I do not ever recall something so directly cast, so borrowed and yet so effective. I saw this close to a film (Duel at Diablo) where the score was literally canned bits from old movies and the dialog all dubbed). This part is fun, and much more tantalizingly erotic than what you will see.Ted's Evaluation -- 2 of 3: Has some interesting elements.