Suddenly Laura Mars can see through the eyes of a serial killer as he commits his crimes. She contacts the police and with the aid of a police detective, tries to stop the killer. But first... See full summary »
In 1974, flanked by such filmic monuments to paranoia and corruption as Chinatown and The Parallax View, Elliott Gould and Donald Sutherland tried to re-create the screwball nonchalance of ... See full summary »
A young wife and mother, bored with day-to-day life in New York City and neglected by her husband, slips into increasingly outrageous fantasies: her mother breaking into the apartment, an ... See full summary »
Mordecai Jones (George C. Scott) is a rural con artist (a 'flim flam man') who takes on a young army deserter Curley (Michael Sarrazin) as his protégé and teaches him the tricks of the ... See full summary »
Harry Landers is a feisty senior citizen who refuses to abide by the rules in a stodgy retirement home run by a dour Ms. Davis, in which Harry leads a revolt by the other goated senior ... See full summary »
Suddenly Laura Mars can see through the eyes of a serial killer as he commits his crimes. She contacts the police and with the aid of a police detective, tries to stop the killer. But first, they have to figure out who it is. Written by
Brian W Martz <B.Martz@Genie.com>
The film is said to be an American example of the Italian 'Giallo' genre. See more »
When Laura sees an especially frightening vision the camera cuts to her eyes in close-up. Her pupils are not maximally dilated as they would normally be by extreme emotion, but are pinpoints. This would likely have been a technical difficulty as the bright lights in the C/U would shrink her pupils. See more »
[Recorded greeting on Michele and Lulu's answering machine]
This is Lulu and Michele. We're not here, so go to hell! But if you're not a horny creep, leave a message at the beep!
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The film's closing credits roll over the first image of the movie, a black and white image of Laura's eyes as a negative. See more »
Jon Peters' first production as he transformed himself (with girlfriend Barbra Streisand's help) from hairdresser to movie producer, the movie is a gem of Seventies style at it's finest. The clothes, the hair, makeup, music, attitude, interiors and locations ride the crest of the high-style wave that flooded the world through the Eighties. Combining the improbable worlds of violence and fashion, with a story that centers on a famous photographer (Dunaway) and her ability to *see* her friends and colleagues being stalked and murdered, *Eyes* has moments of serious suspense, but that's hardly the reason to see this movie. Utilizing the actual photography of fashion god Helmut Newton, the film maker has exquisitely captured the 1978 New York fashion and disco scene in a way that none of the recent looks at the Seventies has been able to, but then, again, this movie was *made* in 1978, not 27 years later. The scenes of photo shoots are particularly fun to watch, with one scene portraying a burning car crash in Columbus Circle in which the models, clad in garter belts and fur coats cat-fight before the camera. The ingenuous use of *real* models add the precise amount of vacuity necessary to make the surreal shot work. Another photo shoot involves a model dead from a gunshot to his heart lying in a pool surrounded by exotically dressed disco-dancing models and a throbbing disco beat. The plot is secondary to style in this movie, and style is the only reason this movie should be remembered. Favorite moment: Darlanne Fluegel as the model Lulu haplessly trying to explain to the press *why* violence is important in fashion photos.
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