— What’s your new book about?
— A detective. He falls for the wrong woman.
— What happens to him?
— She kills him.
Consider the last shot of the movie (no, I will not reveal it). This shot allows us to discover whodunit – whether one of the characters is a murderer, or not. The screen has faded to black. Then we get the last shot, and it answers our question. But if the last shot had provided the opposite answer, it still would have been consistent with everything that had happened in the film. Each and every shred of evidence throughout the entire movie supports two different conclusions. This is the kind of ending beloved by marketing experts. The audience likes the heroine? Make her innocent. They hate her? Make her the killer. Only one shot has to be changed. As a result, I left the movie feeling depressed and manipulated – because it didn’t matter how hard I tried to follow the plot and figure things out, the whole movie was just toying with me (…) Apart from the whodunit elements, the movie exists for its sexual content (…) Seeing movies that walk the ratings line like this, I realize that good soft-core is more erotic than trimmed-down would-be hard-core, and that the movie would have been more of a turn-on if it hadn’t tried so hard. The sex resembles a violent contact sport, with a scoring system known only to the players (…) Does the movie deliver? In a way, it does. It kept me interested, and guessing, right up until that final shot, which revealed that all of my efforts were pointless since the guilt or innocence of the characters was a flip of the coin, based on evidence that could be read both ways. The film is like a crossword puzzle. It keeps your interest until you solve it. Then it’s just a worthless scrap with the spaces filled in. — Roger Ebert, 1992.