I don't think this is a great movie, but I do think it has some great points. It deals with sexual dysfunction in a way that is different from most films. I'm not sure it's necessary to say that I'm going to give a spoiler here, since movies about a female's sexual dysfunction generally give the same cause for it, but for those who haven't noticed this, then I guess I'm going to give a spoiler here. Anyway, this film's different approach to sexual dysfunction is particularly apparent where Lee's character describes her past relationship with her father and how she felt about things at the time; few movies dare to stray from the typical "horrific memories of abuse that I repressed in the past are now ruining my life" approach. This film does not exploit Lee's character's past abuse, like so many other films seem to. Her past abuse is essential for understanding who her character is and what her relationships are with those around her, as this movie is a character and relationship study. Her abuse is not treated trivially or like some cheap plot device. It is also valuable to see how Lee's character's abuse affects her husband; so often, movies and television shows have the guy deal with such things in a highly unrealistic and polarized manner, even though knowledge of another's abuse can profoundly affect others as well. This movie does a decent job of dealing with this.

I think this is a good movie for couples to watch; many people would benefit from observing the characters in this film communicating with each other.

For those who are turned off by a lot of sex in a film, this movie does have it, but this film is NOT like soft porn. The sex is generally not erotic, and it seems to be more about the characters involved than about the act itself. Even the sex in this movie is about communication, and I think that's a valuable thing, because so many people seem to clam up when it comes to sex, rather than talking about it with their partner.

As for Lee's character's borderline personality: For those who don't really know what that is and who find that the movie's description was too vague or ambiguous, if you type "borderline personality disorder" into the search box in most any search engine, you will find that there are lots of sites devoted to BPD, which may give you a greater insight into Lee's character. Or head down to your local library (or perhaps university library) and pick up a copy of the DSM-IV or a psychology textbook. Just avoid self-diagnosis or diagnosing your friends with the information. BPD is quite a fascinating this; I'm surprised more movies don't make use of it, instead of constantly using Multiple Personality Disorder (now called "Dissociative Identity Disorder") and/or repressed memories to explain everything unusual a person does, especially considering both MPD and repressed memories are highly controversial topics in psychology at the moment.

Star Craig Sheffer is about as helplessly wooden and lacking in personality as an actor could be. Therapist Alfred (Spalding Gray) seems to breach patient confidentiality. Film-maker Lance Young has a keen eye for some fine shots, but that alone is no reason to watch a film. More to the point, Young has no sense of how to write a compelling screenplay with a meaningful story, well-rounded characters, or earnest dialogue. He struggles to orchestrate an engaging scene. Terence Stamp tries to inject some personality into the character of Balthazar, but the part is written so flat and bland that he has almost nothing to work with. Young apparently has had no real credits to his name past the year 2000, and having watched 'Bliss,' I can't say that I'm surprised - but I am thankful.

At least the location scouts knew what they were doing.

Frank discussion of sex in the dialogue should be titillating, yet it's so clinical as to almost be derisively funny. Some of Balthazar's seemingly unorthodox methods should also elicit a laugh, or at least mild amusement. I say "almost" and "should" because Young's writing once again renders these would-be stimulating aspects lifeless, and boring. Even the promised nudity and sex scenes are sparing; at best they feel more romantic than scintillating, and at worst pointedly staged, artificial - dull.

I really don't know why I decided to watch this.

Sheryl Lee is the only cast member given a role with any real depth, allowing her to inhabit the part and demonstrate her skills. It's too bad Maria is also written with very little agency. Only within the last half hour does 'Bliss' get interesting - and that's only because of a hugely dramatic turn that upends everything Young had put into his movie previously. The feature becomes something entirely different, and while the characterizations (or Sheffer's acting) are no stronger, the thrust of the narrative is given a strength it wholly lacked before. Unfortunately, by that point, it's simply too little too late.

There are a few good ideas scattered throughout. They mostly go to waste.

I think I'm a very patient, open-minded viewer; I'll watch almost anything, no matter how underhanded or over the top, any anticipated level of quality, any genre. And still I feel like watching this was, more so than not, just a waste of my time. I can't particularly imagine who I would ever recommend this to, or why.

'Bliss' isn't.

This movie is a welcomed surprise and quite a good way to end cinema 1997. Bliss, not mistaking it for the eccentric, and unique Oz film of '1985 is a wonderfully and astutely written film, about the damage of a suppressed memory, from many a year ago in the haunted mind of Maria, so beautifully played by Sheryl Lee, such an impressive take note actress. I won't go into the memory itself, but is much responsible for Maria inability to achieve orgasm. The movie has such thought provoking dialogue of high standard, in such a very crafted adult drama, that reigns a true, sort of classy original. This is one of those really underrated drama's, our three main principals, characters, ones we really get involved in. Sheffer's arrogance and inexperienced grasp on his newly wedded bride's cry for help, a damsel in distress, makes such an angering contrast, Lee, who like many other beautiful women, have been sneaking into this uptown private building to seek solace, sexual fulfillment and understanding under the watchful eyes of a legend sex therapist (Stamp) professionally solid, and the third heavyweight performance, where his practice has previously tried to be shut down, by law figures, quite a shame, considering his psychological insight. The first confrontation, with Sheffer, who Stamp mellows by asking him if he wants tea, mirrors a scene in the much earlier, 97' Oz indie pic, Idiot Box, only Sheffer doesn't have a knife. Stamp does have a hottie on the side, Lois Chiles, who played the scheming Holly Harwood in Dallas, bedding Jr in such a saucy trademark scene, I'll never forget. The flow of story is steadily, wonderfully manned, and this film is much more than just a one, two week, adult sex pic, it's cover different from the one here, kind of misrepresents it. Bliss is a turn of surprise, you'll be glad you've slapped your twelve bucks down on movie night. One scene with Sheffer telling random people he loves em', is hilarious, and we see Sheryl Lee can play characters way outside of the taunted high school chick, Laura Palmer, her performance so real and lasting. Make a date.