Glória, a Mulher

Even though I was a kid when I saw the original, I can remember it being much more endearing and convincing than this Sharon Stone remake. It's not great, it's not bad, but Sharon does not ever convince me that she is a "mother-figure" to the orphaned boy she wants to help. She's always just a little too abrasive, too tough, and trying too hard to be sexy in this role.

The boy who plays one of the lead characters comes off better than Sharon. I'm wondering what kind of recruiting they needed to get George C. Scott and Jeremy Northam in this movie. My advice is to stick to watching Sharon Stone in her usual glamorous, sex-pot type roles. They are much more suited to her style.

I never really believed a second of this movie -- it feels like contrived Hollywood schlock. But I enjoyed it anyway. Sharon Stone's performance is fun, and her wardrobe alone is worth the price of admission. There's also one of the best car chases I've seen in recent years.

Gloria is released from prison having done her time the right way and never mentioning anything about her mobster boyfriend Kevin or his boss Ruby. She returns to find that he has not kept his end of the bargain. Also in Kevin's custody is Nicky Nuñez, a 6 year old boy whose family was killed for a disk of incriminating information. Gloria feels that the murder of a child is a step further than she can deal with and takes him and the disk. As the mob hunt them down Gloria realises her chances of survival are slim and tries to work out how to save Nicky.

I expected nothing from this when I sat to watch it – in fact I was genuinely surprised when I saw that Sidney Lumet had directed it, as I had expected a trashy thriller-come-comedy of some sort. However the mood of the piece is set out early on when Nicky's family is murdered by Sean. This is a powerful and unpleasant scene in the film – not overly gory but moving. The main thread of the film is the old `hooker with a heart of gold' type of thing and I must admit that this element is often it's weakest part. It's here that I felt old ground was being treaded and that the sentimentality was allowed to get a little out of hand. This is particularly evident in the final 10 minutes (awful ending by the way) but it raises it's head several times during the film where `Gloria learns valuable life lessons about herself' etc.

Happily for the most part this is offset by a some good thrills – such as some good car chases, moments of violence and a good sense of menace from the mobsters. Stone has a difficult role. It is one that could be swimming in it's sentimentality. She doesn't totally succeed (her accent is a little forced at times) but she carries it reasonably well. Figueroa has an even harder role in being the cute kid. Sadly for the most part he is the `cute kid' and is a little irritating but he does have a few strong scenes that show there is more to him and he is good considering his age. Northam is OK, Starr brings real menace, Scott and Moriarty have clearly both been cast to add some class to the film but only have small roles.

Overall this is a reasonable film. To some extent we've seen it before and the sentimentality really threatens to sink it at times. However a real sense of menace and some strong scenes make this a better film and the thriller scenes, although not great, are solid enough when combined with these to make the film watchable – just don't expect this to be without big areas of weakness though.

The veteran Sidney Lumet wastes his talent here by presenting us with a well told but banal story of a woman involved with the leader of a criminal gang who accidentally becomes aware that the gang is willing to kill a little boy in order to eliminate a possible undesirable witness and decides then to save the boy at the risk of her own life, initiating a course of hide and run well shown in a sequence of scenes thrilling enough to rivet our attention. However neither Sharon Stone in the role of the woman who develops maternal love for the boy nor Jean-Luke Figueroa in the role of the little boy suddenly orphaned and becoming sentimentally attached to her, are very convincing indeed and that's the weakest part of the movie. The best part of the movie is the acting of George C. Scott another veteran, here in a minor role but showing his great talent every time he appears on screen. A fair movie after all.

Yeah, I realize what it says under the director's credit. But there is no way in hell that I'm gonna believe that the man that gave us "Network", "Dog Day Afternoon", "Running On Empty", and his own quartet of NYPD dramas ("Serpico", "Prince of the City", "Q&A", and "Night Falls on Manhattan") is even associated with this. This is quite possibly the worst mainstream film of '99, in the cozy company of "Bats", "Virus", "She's All That", and (gasp!) "The Haunting", just to name a few.

Where to begin? The script for starters. How the writer managed to completely foul up the original source material is beyond me. Much of everything that comes out of Sharon Stone's mouth is unintentionally funny, especially in one scene where she tells her young companion, "I'm trying to teach you a philosophy of life here!" after telling him opportunities in his future (these include going to a race track, lovemaking, and "chasing a skinny blonde girl with big boobs.")

And while on the subject of Stone, it's roles like this that manage to solidify the claim that maybe, just maybe, her brilliant turn in "Casino" was a fluke. Please Sharon, say it ain't so!

Like other users have mentioned, the film's only saving grace is the car chase. But there's a lot of tedium to get through until the chase scene comes. Then again, why bother?

Avoid. I can't stress this enough.