Hellen I like the storyline of this show,it attract me so much

SunnyHello Nice effects though.

Raymond Sierra The film may be flawed, but its message is not.

Kayden This is a dark and sometimes deeply uncomfortable drama

Scott LeBrun Bryan Forbes ("The Stepford Wives" '75) directed this adaptation of a Sidney Sheldon novel in addition to writing it for the screen. Sir Roger Moore tackles a change of pace role, playing Dr. Judd Stevens, a Chicago psychiatrist. One of his patients is murdered for no apparent reason, and his secretary is horribly tortured before being killed. Lt. McGreary (Rod Steiger) is a volatile police detective, bearing a grudge against Stevens, who's very quick to consider the doctor a prime suspect. The story then unfolds as one would expect it to, as Dr. Stevens must evade attempts on his life while trying to prove his innocence and keep McGreary out of his hair."The Naked Face" really isn't deserving of some of the talent here. Made on the cheap by the Cannon Group (basically because some of their other product during this time had under performed at the box office), it adequately entertains without being remarkable in any way. Viewers may feel underwhelmed by the twists that the story provides, and the climactic reveal and confrontation fail to be that satisfying. Editing, photography, and pacing are all reasonably well done, although that music score by Michael J. Lewis is awfully melodramatic. The last second shock ending is quite annoying.Moore is okay, no more, as our somewhat reserved main character, while Steiger is given yet another opportunity to rip the scenery to shreds. Elliott Gould is actually good as McGreary's partner Angeli. Lovely Anne Archer is appealing as always in her small role as one of the patients. David Hedison lends solid support as Stevens's good friend (and brother-in-law) Dr. Peter Hadley. The main attraction, however, is Art Carney in a likable turn as a sly private detective. The film gets just a little bit better when he turns up.Fans of these actors and this genre may enjoy this one. At least it delivers one memorable sequence involving one of the attempts to kill off Stevens.Six out of 10.

moonspinner55 Filmmaker Bryan Forbes, who once displayed a light, sardonic touch with beguiling material such as "Whistle Down the Wind" and the original "Stepford Wives", completely bottoms out here. Not only is his direction inept, he also sloppily adapted Sidney Sheldon's early novel; the results are atrocious. Roger Moore plays a psychiatrist framed for the murder of one of his patients; Rod Steiger, chewing the scenery, is a hot-under-the-collar cop (it's easily his most embarrassing performance). The only actor here to exhibit some life is Elliott Gould, who knows a thing or two about enlivening a bum script. Bland, choppy, and produced on the cheap. NO STARS from ****

uds3 Moore knew he was living on borrowed time so far as Bond was concerned. Way too old, too slow moving and paunchy to be carrying a Walther PPK for much longer. His Bond contract allowed him to make two other films during this period - post OCTOPUSSY and pre A VIEW TO A KILL (that was to be his last JB outing)Wisely perhaps, he chose this role as mild-mannered but wholly professional Chicago psychiatrist Dr Judd Stevens, whose life hits a major rut after one of his patients is stabbed to death - wearing HIS coat. Having no idea what is going on for pretty much the entire movie Moore conveys Judd's plight rather well I thought. As unlike anything Moore has ever done, he must deal with finding himself simply in the wrong place for seemingly no reason.Several things to like about this flick - IF you care to look. Art Carney's turn as burnt-out but still cluey PI Morgens is a real gem of a performance. When Moore admits he doesn't believe in guns, Carney counters, "Yeah, well I don't believe in Santa Claus, but each Christmas he still comes round." The brief scenes in his ramshackle office are really worth looking at closely.Cop Steiger is a tad over the top as is his wont - give him any opportunity to rave - he's in actor's heaven. Ron Paradi as mob boss Cortini puts across one of the nastiest and inherently evil men you would ever wish to not meet and Anne Archer is well....Anne Archer.Totally unexpected last 20 seconds really lifts the film I thought.

trpdean This is a truly ugly little movie - from start to finish, it lacks warmth, familiarity. Indeed, it begins and ends in a cemetery. Its look gives it a low budget feel- though the high powered cast must have made it more expensive than it looks. the movie is saved by its choice of actors. This must be one of the most unusual casts assembled: Art Carney, Roger Moore, Anne Archer, Elliott Gould, Rod Steiger, David Hedison (known particularly to Americans for the TV series, Voyage to the Bottom of the Sea but I think he also served as Felix Leitner in one of the Bond movies). What a group.The sight of Roger Moore as a pathetic, terrified, weak, indignant psychiatrist is also truly disorienting. As he runs and pushes chairs against doorknobs to stop one man chasing him, trembling in fear, it's VERY hard to not cry out "007, WAKE UP! One karate chop will do it!I think the best of a generation of American actors were Rod Steiger, Jason Robards, Marlon Brando, and George C. Scott. Steiger's role isn't a wonderful one - but he is as usual, fascinating to watch to see the accents, looks, manners, that he will choose to portray the character. I am very fond of Elliott Gould - though he underplays his role here. Anne Archer is lovely - as she is as the wife of Harrison Ford in all the Tom Clancy/Jack Ryan movies, and of course as the wife of Michael Douglas in Fatal Attraction. Art Carney is absolutely extraordinary - very amusing - it's as if his dialogue was written by someone other than the sleepy TV movie of the week folks who wrote the other dialogue. This is worth watching - if you don't expect too much. E.g., if you want to see Roger Moore play another role - and I like Moore very much -it's fine. He's also charming and funny in the comedy, That Lucky Touch with Susannah York.