A photographer for a men's magazine is disturbed by a recurring dream he has that he is killing his models by various gruesome means. Then he discovers that his city is being terrorized by ...
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In New York, Dr. Norman Boyle assumes the research about Dr. Freudstein of his colleague Dr. Petersen, who committed suicide after killing his mistress. Norman heads to Boston with his wife... See full summary »
The frustrated housewife Leslie visits an animal shop to purchase a flea-collar. Unknowing that the owner is a werewolf, she accepts his invitation to lunch and later in his apartment. ... See full summary »
Handsome and successful Jim appears to have it all: he's married to the beautiful and supportive Lisa, has a healthy baby, and works a cool gig as the director of hardcore porno fare. Jim's... See full summary »
Cindy, a sweet-young-thing being raised in the suburbs with her half-sister Donna, is shyly undergoing a sexual awakening. Fifteen-year-old Cindy and 17-year-old Donna share the same mother... See full summary »
Roger is cruel, violent and pathologically jealous and his wife Maria is suffering for it. He hires McClure, a P.I., to follow her and confirms his suspicions. Roger pays McClure to kill Maria's mysterious lover, but he botches the job.
A photographer for a men's magazine is disturbed by a recurring dream he has that he is killing his models by various gruesome means. Then he discovers that his city is being terrorized by a slasher who is stalking and murdering women on the streets. He begins to suspect that he may actually be the killer. Written by
First time I saw this film many years ago, I thought it was a pretty fair slasher film, but on second recent viewing, it's waned a bit - while Callan is okay as the central character, a men's magazine photographer suffering from bizarre and murderous apparent dreams, Jim Stacy as his knock-about brother, maimed in an auto-accident, is perhaps the film's highlight. The switch in dominance between Callan and Stacy's characters is interesting to see evolve, but it's a transition that's made difficult to follow due to the film's erratic narrative. Joanna Pettet gets undressed and even has a "When Harry Met Sally" moment with Callan in the back of his camper-van, as the only woman with whom Callan's emotionally fragile character can consummate.
The violence is pretty extreme at times, with sado-masochistic homicide the flavour of the early eighties slasher film getting 'double exposure' here, full-frontal female nudity, mud-wrestling, even Cleavon Little in a minor supporting role as a cranky police chief. It's eclectic. The cast has surprising depth with producer Callan managing to assemble an enviable cast that includes big Bob Tessier as a bar manager, Pamela Hensley as a ball-breaking detective, Seymour Cassel as Callan's shrink, Misty Rowe as Stacy's squeeze, Sally Kirkland as a voluptuous hooker and blink-and-you'll-miss Terry Moore in a flashback dream sequence.
Lairy wardrobe, colourful dialogue, pulsating synthesisers and tricky cinematographic effects momentarily distract you, but the narrative is so inconsistent and the editing (or perhaps scene sequence and continuity) so incoherent at times, that it never maintains any momentum. Highly stylised, the bold concepts and loud motifs (not to mention the substantial cast) should have made for a better movie all things considered, and yet, it's still no Brian DePalma psycho-thriller.
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