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Single White Female which is based on a book, was made into a movie in 1992, and it is about a young woman who moves into an apartment and finds a girl Hedra is a crazy psycho who wants to be her. The acting is really good and professional and the story is a tense thriller that could be on a channel like Lifetime or LMN. The movie is set in New York and was actually filmed there. The cinematography and scenery is well done as well which I liked. I enjoyed the film and recommend it for others to see. I have not real the novel that this is adapted from but I would like to to see how it is different. If you haven't seen this, I recommend that you do so.

7/10 stars.

Another movie with great potential. The film unfolds almost perfectly and you find yourself in a tense and deep psychological thriller (no spoilers to the plot). But then, the director chooses the easy way and we have a usual ending with mostly unrealistic situations and splatter sequences (ouch this dragging scene with the head bump at the elevator step must have hurt!).

A fairly engaging psychological thriller. Of course, there must be some suspension of disbelief, as in Hedy(Jennifer Jason Leigh) wielding a shoe. Also, there really are no truly sympathetic characters here. Hedy, of course, is what she is. And, Allie(Bridget Fonda), the supposed heroine, does kind of screw over Hedy. And Sam (Steven Webber) is basically a snake anyway. As for the actors, I thought Miss Leigh was by far the best, though she had the meatiest part, so it may be hard to compare. And what an amazing apartment for a young software designer in Manhattan. OK, they mentioned it was rent-controlled. What an insane economic policy. Grade: B-

As the title implies, SINGLE WHITE FEMALE is about what happens when an ad for a housemate is answered by someone rather... troubled. Allison (Bridget Fonda) places the ad after her fiance, Sam (Steven Weber), turns out to be a not-so charming prince. Yep, he's been cheating on her.

Enter Hedra "Hedy" Carlson (Jennifer Jason-Leigh), who appears to be the perfect candidate. At first, all goes amazingly well, and the two get along great. Of course, this wouldn't be much of a thriller if everything went peachy. So, it's not long before Sam starts wooing Allison back, and Hedy starts exhibiting some odd quirks and rather unsettling behaviors. Things only get worse from here. What's a woman-gone-berserk to do next? Why, kill everyone in her way, naturally!

SWF came out at a time when similar psychological thrillers were all the rage. Ms.' Fonda and Jason-Leigh are quite good in their roles, with Allison going from clueless to suspicious to fighting for survival, while Hedy goes from seemingly shy to completely bananas! Those who love this sort of movie will love this one. Those who don't, can blame FATAL ATTRACTION.

P.S.- Anyone enamored with the female form will be overjoyed to know that both Bridget Fonda and Jennifer Jason-Leigh spend relatively lengthy periods of time in their birthday suits!...

Formulaic, formulaic… yeah it's routine Hollywood psycho-thriller territory, but too visually well made by director Barbet Schroeder and comfortably performed in the shape of Bridget Fonda and Jennifer Jason Leigh to not get something out of it. The story (adapted off John Lutz's novel "SWF Seeks Same") plays its cards quite early, and goes about the subject in a too convenient manner to make it entirely effective. Quite a slow build-up and many sub-plots stem off the central plot, as we watch Leigh's character's twitchy transformation suddenly grow and form the basis of the early groundwork that would eventually unsettle Fonda's fragile character. A resourceful Schroeder sure does a brilliant job with many artistic flourishes, and inspired gimmick set-pieces where you just can't help but admire Luciano Tovoli's lyrically smooth cinematography. However trying to register the suspense, became hard due to leading us down the same old path of cheap clichéd jolts and shinny techniques. Although the potent climax goes over-board, it's particularly heart-pounding and downright exciting. There's nothing overtly tame about it, with its seamless nudity and tantalizing sex, and a wicked death here and there. But it's all tastefully done. Howard Shore's sumptuously airy musical score feeds off the well used location and compact sets (especially that of the stark Victorian apartment building) that are very ideal to the film's progression. In the two leads, a gorgeous Fonda is terrific and Leigh's needly attachable turn is one of confidence. The chemistry works, and when it comes to it they sure do look like each other. Talk about eerie. There's also solid support by Steven Weber, Peter Friedman and Stephen Tobolowsky.