I wonder how many people -- who were involved in the making of this film against their better judgment -- are kicking themselves now for ignoring that nagging suspicion that it wouldn’t live up to the original. They’re realizing now they were seduced by that same sexy allure that turned out so badly for some of the film’s characters.

“Basic Instinct 2” marks Sharon Stone’s return to the role of the sexy, brazen, thrill-seeking novelist Catherine Tramell. The writer seems drawn to trouble like a moth to a flame, and she revels in introducing a little chaos into the lives of the people around her.

As part of an ongoing investigation of a British soccer star’s death, Tramell is given a psychological examination by the Scotland Yard’s favorite shrink, Dr. Michael Glass (David Morrissey). Tramell seeks out Glass for therapy after she is cleared of involvement in the case, and the story of seduction and violence begins.

Though the developments on screen are somewhat predictable, it still isn’t clear exactly who did what. For a movie billed as “suspenseful,” most of the anticipation hinges on whether and when Glass will finally give in to Tramell’s scheme of seduction and not on the frequent mysterious deaths in which he seems to be implicated.

The film’s biggest drama, though, took place behind the scenes on the movie set. Besides her usual prima donna antics (vetoing the producer’s top choice for the male lead) Stone also sued the producers for around $100 million in damages when the project stalled, saying her involvement during that time prevented her from taking other jobs. I’m sure they maintained a great working relationship.

Fans of the previous film have been buzzing about Stone’s reported nudity in the sequel, wondering if she’s still smoldering hot at the age of 48. She is. There’s no doubt about it, either age or cosmetic surgery has been very kind to the famously good-looking actress -- maybe both.

Stone’s larger-than-life good looks aren’t the only pretty thing on the screen though; the cinematography is beautiful as well. Every shot has a great blend of colors and the perfect balance of light and darkness. I was struck by the framing and the sequence of shots used by director Michael Caton-Jones (“Shooting Dogs,” “City by the Sea”) and by the sense of grandeur he creates in each scene. It’s just plain pretty.

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