zvonnydamne After watching this movie the only thing i could think of is Madonna's ass. Why not? All this confusing story about old men having arrhythmia and women who can manipulate their desease into death is nothing compared to Madonna's ass.Ass is a hero and an object of attention in this movie. Of course, Madonna got for her full art gallery, but i ask - isn't her ass is art? And i never seen Madonna in her gallery, only in court. This movie have a court of law apparently. But who cares.Willem Dafoe playing a lawyer who got sense of admiration for Madonna (more like for her ass) and trying to save her from electric chair. I bet chair got jealous for Dafoe playing with Madonna's ass, but it's not a point. Point is - forget the story. It's stupid. It's laughable. It's unbelieveable. But be sure to check Madonna's ass. It's got a very good quality.

PeterMitchell-506-564364 I saw this twice at the cinema, the second time with my Dad. I liked the movie that much. The premise was fun. Madonna, where we're granted a look at her goodies at the start, is playing on a videotape, having sex with a 63 year old man. Then we cut over to the big brass bed where the deceased codger, Andrew Marsh, lies, very much dead, the thinnest trace of a smile on his face. Enter Dafoe on the case (another asset to the film-that raspberry award nomination was bogus) who takes Madonna as on a client, and that's not all, as seen in awesomely hot scenes with class, later on the film, that rival Basic Instict's. This film has a lot of style. Madonna lives on a two story house, rested on stilts on the river. The setting for this movie is a nice choice. Oregan of all places. Another of Marshes's loves, his secretary, Anne Braslow (Anne Archer, again undeserved of a raspberry) is Madonna's rival here, really trying to stick the knife in her. We see the late Andrew, favored Madonna much more, as proved in the will of 8 million. Some lines of dialogue in this flick are classic. I think I read the second draft of Brad Mirman's script, that I liked a lot, that varies a lot from the finished project, big chunks of dialogue removed in the courtroom scenes, replaced with smaller amounts. Bob Garrett, (Joe Mantegna) is Anne Archer's lawyer, who really has it in for Madonna. I wonder if jealousy plays a part here. Mantegna are Dafoe are rival competitors, old compadaries. This actor here is the most undeserving of a raspberry. This film was when Madonna actually started acting. Here, I thought she was quite good. She was even better in that later flick, "Dangerous Game' a couple of years on, and then that role in Evita, her acting pinnacle, that truly made us see what this versatile talent is capable of, to all those envious and hypocritical jerks out there. The line near the start, where the son asks his father (Dafoe) "Can you really screw someone to death?" was a bold move on the kid's part on the kid's part. Dafoe's answer is partly funny you'll find if you watch the flick. Body of Evidence is been panned by a lot of people. It's continuity is great. Sex. Long Courtroom scene. Even more sex. Courtroom scene. And after all, this whole case is proved in intent, with so much of the evidence pointed at Madonna. Another few witnesses put on the stand are 60 plus, men, ex-lovers of Madonna, where her sessions of sex were strenous, some of them involving domanatrix, like being handcuffed to be4d rails, as our poor Andrew, and having such gadgets like nipple clamps attached, that Bob Garrett has a worldly knowledge of. After all he's from L.A. One ex-lover (Frank Langella) is forced to leave the courtroom as Madonna had found him in bed with another guy. Thundershock, hey? One actress who escaped a raspberry, was Julianne Moore who went onto become one of Hollywood's greatest and respected actresses. She's hot here, in the first erotic scene to the movie with Dafoe, his thrusting rumps, practically hitting us in the face. She compliments him after they both climax, Moore saying "You're great when you get a new case". Unfortunately gossip spreads, and Moore discovers Dafoe's infidelity, leaving him in the doghouse. But she's forgiving at the end, when true justice is served in a great dramatic climax. I loved it when Moore and Madonna were in the ladies, and Moore slaps her, after Madonna says "Wish me luck". I so wanted to believe Madonna was innocent, but I guess this was how it was almost meant to play out. BOE is a great stylish thriller, a good day at the movies. It's got actors we love, some good lashings of sex, (a sexier movie than Basic Instinct, one scene even involving hot wax) involving courtroom scenes, some comedy scenes and Madonna's, you know what. This just happens to be one of those movies that got the short end of the stick.

Santos Santoni I read someone compare this to a bad episode of Law & Order and that about sums up my feelings on this movie. The erotic relationship between Willem Dafoe and Madonna is completely unwarranted, and the way their relationship develops is kind of unbelievable and cheap. The plot-line is weak and the revolving mystery is more so; however, it is clear that the film attempts to achieve much more than engross one in an underwhelming plot. At its core Body of Evidence is a late night soft-core porn mystery/drama. Juliane Moore's portrayal of Sharon Dulaney was the only mildly provocative aspect of the film. The storyline is incidental to a mildly pornographic coupling of two mildly unattractive people.The acting is sub-par and Madonna musters what she can to pull off...well... herself - the only role she ever plays in films. An argument could be made that the film's cinematography was its only redeeming quality. Debuting at the height of Madonna's Erotica period, I don't doubt why she decided to make this film, but I do doubt why the director, the actors, the producers, and everyone else involved thought this would be a good film to make. It serves as little more than a promo for this particular period of Madonna's career.

smatysia Certainly not a great film, but not as bad as it has been made out to be. Madonna's acting is OK, and I suspect the "woodenness" of her performance was largely what the director wanted. Her character's passion was limited to the bedroom (and elevator, and stairs, and parking garage, etc.) and never extended to her daily life. And, by the way, I had forgotten how pretty she could be back then. Anne Archer looked awfully good as well, even while being weepy and not completely hinged. The rest of the cast put in good work, with a special commendation for Julianne Moore. Frank Langella was suitably creepy, and Joe Mantegna suitably industrious. Some of the dialog didn't completely work, but if you watch this without preconceptions, you'll find it OK.