Jonathan (Matt Dillon) is obssessed with inheriting Thor Carlsson’s (the majestic Max von Sydow) copper empire. Why? Presumably, because as a poor child literally living on the wrong side of the tracks, he would sit in his room and stare at the endless parade of freight trains passing by, all of them bearing the Carlsson company logo. Jonathan has successfully wooed Carlsson’s daughter Dorothy (Sean Young), and the two plan to get married. However, when he finds out she’s pregnant with his child, he lures her to a rooftop and pushes Dorothy to her death. Why? He fears old Carlsson would have disowned her; perhaps Jonathan should have thought of that before he had unprotected, premarital sex with her. Luckily for him, Dorothy has an extremely conveniente identical twin sister, Ellen (also Young). Four years after Dorothy’s death, history repeats itself; Jonathan has no trouble sweeping Ellen off her feet, but once again finds it, ahem, too hard keeping it in his pants. This time, though, he takes the precaution of charming the father as well as the daughter; he ingratiates himself with the old man, goes fishing with him, agrees with everything he says, until Thor gives him a job in the family business, to which Jonathan is so devoted that he has no time for Ellen, who after all was only a means to an end – and that end, apparently, was to become a workaholic yuppie. I can't help thinking that there are other, better ways to achieve this without resorting to murder. The only problem is that Ellen, unlike her father and the police, is not convinced Dorothy committed suicide. Dorothy was wearing new shoes, you see, which she bought just before she died. Is that something a suicidal person would do? Actually it is, but only if you belong to the Heaven's Gate cult; everyone else must share Paolo Nutini’s love of recently acquired foot wear.

Kiss of life required to ignite this film noir re-imaging. A remake of the 1956 film of the same name, A Kiss Before Dying is directed by James Dearden and Dearden adapts the screenplay from Ira Levin's novel. It stars Sean Young, Matt Dillon, Max von Sydow, Dianne Ladd and James Russo. Music is by Howard Shore and cinematography by Mike Southon. Story has Dillon as a troubled young man who murders his pregnant girlfriend (Young) and then hones in on her twin sister (Young again obviously) for further psychotic shenanigans. It's just about an average thriller at best, where even if the plot line and character motivations are intriguing enough to hold the attention to keep one interested to the ending, even there the outcome is rushed and unsatisfying. From the negative reaction at the initial test screenings, to Golden Raspberry awards, and tales of rewrites and re-shoots et al, this noir reboot is messy. The tie-in to Hitchcock's Vertigo is glaringly "not" homage worthy, and not just content with that, director Dearden tries to use some of Hitchcock's macabre black humour to unintentionally "not" witty results. So with Young on hilariously bad form as well, the thriller aspects strain to get resuscitated for dramatic worth. Dearden does show some nice touches with his camera-work, and there's a lurid quality to Southon's colour lenses that pay respect in heart to Levin's source material, but ultimately it's hard to recommend seriously to noir fans and the 56 version (itself not without problems) is still the way to go. 5/10