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Michelle, distraught, removes a pistol from a drawer and places the barrel in her mouth as though preparing to shoot herself. Michelle in psychologist Bill's office in what appears to be a psychotherapy session. She jumps through the window and falls to her death.

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Bruce Willis eases into the erotic tropes with gusto that would make Michael Douglas proud, playing color blind psychiatrist Bill Capa who gets a nerve shake-up when a distraught female patient Kathleen Wilhouette in a cameo of gushing melodrama takes a suicidal swan dive out of his forty story office to the NYC streets below. The group is populated by several oddball weirdos, one of whom may be the one who offed the good doctor Bakula. Capa soon finds himself sexually involved with the impossibly sultry Rose Jane March.

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It is one of two well-known works by director Richard Rush, the other being The Stunt Man 14 years before. Although Color of Night flopped at the box office, this film did well in the home video market and became one of the Top 20 most-rented films in the United States in Maxim magazine also singled the film out as having the Best Sex Scenes in film history.

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Psychologist Bill Capa gives up his practise when he unintentially pushes a patient to committ suicide. In an effort to come to terms with this tragedy he visits an old colleague, Bob Moore, who is subsequently murdered. The quest to catch the killer centres around a group of Moores psychologically disturbed patients, however equally as important is an affair which develops between Capa and the mysterious Rose.

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Director Richard Rush is one of the more talented and mysterious figures in American filmmaking. But though it has been 14 years since his last feature the live-wire classic "The Stunt Man"his new movie, "The Color of Night," is sometimes just as hip, lively and blast-your-eyes funny as ever. It's a psycho-erotic thriller with more twists and shocks than the rattlesnake which, at one point, leaps out at star Bruce Willis -from a location we won't describe.

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But then she smears on her lipstick in a comical fashion, puts a gun in her mouth, and, as she continues to cry, simulates performing a sex act on the gun. In the next scene, she meets with her psychiatrist, which you will agree is a good idea. Alas, she decides to terminate the session by taking a running leap out the office window, smashing through the glass and plunging to her death many stories below.

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Bruce Willis eases into the erotic tropes with gusto that would make Michael Douglas proud, playing color blind psychiatrist Bill Capa who gets a nerve shake-up when a distraught female patient Kathleen Wilhouette in a cameo of gushing melodrama takes a suicidal swan dive out of his forty story office to the NYC streets below. The group is populated by several oddball weirdos, one of whom may be the one who offed the good doctor Bakula. Capa soon finds himself sexually involved with the impossibly sultry Rose Jane March. And when I say sexually, I.

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Combining all the worst ingredients of an Agatha Christie whodunit and a sex-crazed slasher film, it ends in a frenzy of recycled thriller elements, with a chase scene, a showdown in an echoing warehouse, and not one but two cliches from Ebert's Little Movie Glossary: The Talking Killer and the Climbing Villain. I am compelled to admit that the use of the high-powered industrial staple gun is original. The film stars Bruce Willis as an East Coast psychologist who loses his faith in analysis after he talks tough to a patient and she hurls herself through the window of his skyscraper office, falling to the ground far below in the best suicide effect since " Hudsucker Proxy.

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Cheesy movies are a special joy. Despite an earnest attempt to create compelling stories, filmmakers often miss the mark. Some movies turn out simply mediocre.

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