YMMV / The Last Seduction

• Award Snub: It was so expected that Linda Fiorentino would get an Academy Award nomination for her performance, that the producers down-and-out sued the Academy for disqualifying the film due to its debut on cable prior to its theatrical release.
• Harsher in Hindsight: When Mike grabs Bridget's rear as they enter the Interstate office, Bridget slaps him and makes a big show of claiming it was unwelcome advance in order to keep her and Mike's relationship a secret. In the film, Mike sheepishly goes to his office red-faced as the other employees in the lobby give him the look. In today's times, it's hard not to imagine Mike being fired on the spot for it. Especially since she's claimed to her supervisor at Interstate that she's an abused housewife trying to hide from her abusive husband.
• Love to Hate: Bridget, who is extremely well-received by reviewers for being a conniving, manipulative bitch who gets away with everything. A stark contrast to many villains of today's world.
• Magnificent Bitch: Bridget Gregory is a highly intelligent, manipulative sociopath who convinces her husband Clay to sell pharmaceutical cocaine to drug dealers before skipping town with their ill-gotten gains. Bridget quickly starts a new life in a small town, repeatedly fending off the private investigators her husband sends after her, one by killing him off in a car crash after tricking him into taking off his seatbelt with the suggestion of a sexual liason, and the other by framing the man as a pedophile. Bridget seduces the well-meaning but naive Mike, then slowly convinces him to kill her husband after messing with his mind and digging up embarassing secrets from Mike's past. When Mike realizes that Bridget is trying to set him up, she kills Clay personally before taunting Mike to rape her, implicating him as a home invader responsible for her own crimes and later disposing of any evidence that might have proved Mike's innocence.
• Misaimed Fandom:
  • Ironically, it's actually been touted as a feminist film. Note all the film theorists and reviewers who seem to like that Bridget gets away with everything! Sure, she destroys a man's life just because he was reluctant to commit murder (not to mention, she kills a detective who's just doing his job)—but hey, at least she stuck it to "The Man".
  • There are also reviewers who use this movie, of all others, to criticize modern day movies, especially those made by Hollywood.
• Moral Event Horizon: While pretty much most of Bridget's actions are morally dubious, she fully crosses it when, after Mike and Clay reveal that they know what she's up to, she improvises a way to still kill Clay and get the killing blamed on Mike, and successfully executes it. Especially because Clay was legitimately willing to continue with their marriage, and her improvised plan left Mike with the choice of spending the rest of his life in prison, at the minimum, with execution in the electric chair still a viable potential for his maximum penalty.
• Nightmare Fuel: The whole ending of the film in general. Being framed for crimes you did not commit, with your best option being life in prison and the worst option being the electric chair, while the actual perpetrator gets off scot-free is enough to put your stomach into knots after viewing the film.
• Rooting for the Empire: Lets face it. A lot of people in the audience eventually wants Bridget to win, largely because of how effortlessly she runs rings around everyone else in the film, save for Frank, the only person she's ever openly honest with.