Lawrence Kasdan’s thrilling update of Double Indemnity brought the noir template into a new decade with help from a never-better Kathleen Turner
The first time we see William Hurt in Body Heat, he’s standing naked with his back to the camera, glistening in post-coital sweat and staring out at a burning building – which, in the seedy world of south Florida real estate, counts as a business transaction. His latest conquest acknowledges his lack of interest in her after sex (“You’re watching the fire,” she says. “You’re done with me.”), but she doesn’t seem put out by it. Like the audience, she’s enjoying the view.
Related: An American Werewolf in London at 40: John Landis’s crafty creative peak
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