A debauched Hollywood movie actor tries to piece together one wild night in Miami years earlier which remains a drug-induced blur, and soon finds out that some questions about his past are best left unanswered.
This ultra-hip, post-modern vampire tale is set in contemporary New York City. Members of a dysfunctional family of vampires are trying to come to terms with each other, in the wake of ... See full summary »
Maas and Hosaka are two large Corporations in the future world. They are fighting to get control over the best minds of the world. The best is Hiroshi and at the moment he is working for ... See full summary »
Born in the Bronx and raised in upstate New York, Abel Ferrara started his professional film career on Mulberry Street in 1975. For the past year he's been living on the block, and the ... See full summary »
A former drug lord returns from prison determined to wipe out all his competition and distribute the profits of his operations to New York's poor and lower classes in this stylish and ultra violent modern twist on Robin Hood.
An artist slowly goes insane while struggling to pay his bills, work on his paintings, and care for his two female roommates, which leads him taking to the streets of New York after dark and randomly killing derelicts with a power drill.
Kathleen Conklin, a doctoral student in philosophy, finds herself with a new perspective on the nature of evil and humanity after being bitten by a vampire in New York City.... Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
Film critic Peter Bradshaw of The Guardian placed the film at #1 in his top ten films of all time (as submitted for the 2002 Sight & Sound Poll) See more »
I finally understand what all this is, how it was all possible. Now I see, good lord, how we must look from out there. Our addiction is evil. The propensity for this evil lies in our weakness before it. Kierkegaard was right - there is an awful precipice before us. But he was wrong about the leap - there's a difference between jumping and being pushed. You reach a point where you are forced to face your own needs, and the fact that you can't terminate the situation settles on you ...
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Abel Ferrara's moody, allegorical vampire tale makes fascinating and pointed statements on sin and redemption, spirituality and the nature of good (there's precious little of it) and evil (no one is safe from it). And unfortunately, but not surprisingly, it was relatively ignored in America.
Lili Taylor gives a brooding, glib and haunting central performance as Kathleen Conklin, a New York University grad student who is pulled into an alley and bitten by a seductive female vampire (Annabella Sciorra), from which she emerges uncontrollably drawn into a world of violence and insatiable cravings for human blood. Ferrara's irredeemable urban hell landscape is more immediate and frightening than a million Transylvanias and by contrasting Taylor's "addiction" to the horrors of the past (war atrocities, the Holocaust) and present (heroine, AIDS), the film has more bite and impact than any fang-bearing, gore or special effects could even attempt to muster up. Nicolas St. John's intriguing philosophical screenplay and Ken Kelsch's gorgeous black and white photography (creating a world solely of light and dark, which is a key element in the plot), are not to be overlooked either.
Call it pretentious for the philosophy references (Sarte, Nietzche...) if you want, but this highly intelligent and disturbing low-budgeter is one of the most accomplished and well-thought out horror films I've ever seen. Don't let over-hyped, attention hogging Hollywood productions like BRAM STOKER'S Dracula or INTERVIEW WITH A VAMPIRE keep you from seeing it.
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