A retired US Navy pilot comes to Mexico, where he falls in love with the wife of a powerful businessman. The consequences will be cruel and unforeseen.
Director:
Tony Scott
Stars:
Kevin Costner,
Anthony Quinn,
Madeleine Stowe
On his last working day, postman Giorgi leads newbie letter-carrier Lamara to familiar houses. While visiting ordinary people, they experience very unusual professional and personal situations and try hard to find the best ways out.
Director:
Siko Dolidze
Stars:
Sergo Zakariadze,
Bela Mirianashvili,
Malkhaz Gorgiladze
The film concerns an elderly couple played by Rosamund Greenwood and Roy Evans, who we later discover to be brother and sister, who accidentally run over and kill a young cyclist played by ... See full summary »
Erotic horror anthology series where the hosts Terence Stamp (in season 1) and David Bowie (in season 2) eccentrically introduce each of the steamy, erotic and often supernatural tales of power, sex, lust, and driving urges.
The Egyptian vampire lady Miriam subsists upon the blood of her lovers. In return the guys or girls don't age until Miriam has had enough of them. Unfortunately that's currently the case with John, so his life expectancy is less than 24 hours. Desperately he seeks help from, the famous, Dr. Sarah Roberts. She doesn't really believe his story, but becomes curious and contacts Miriam . . . and gets caught in her spell, too.Written by
Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>
In the climactic sequence, Miriam takes a swipe at one of the cadavers, knocking its jaw off. The impact causes it to wobble, making it obvious that it is a rigid, lightweight prop. See more »
Ironically, in the credits Willem Dafoe is identified as "2nd Phone Booth Youth"; whereas, he is the first "Phone Booth Youth" to be seen and speak in the Phone Booth scene. Likewise, John Pankow is noted in the credits as "1st Phone Booth Youth"; whereas, he is actually the second "Phone Booth Youth" to be seen and say his lines. See more »
"The Hunger" opens with the by now familiar Goth anthem "Bela Lugosi's Dead" by Bauhaus. Not a bad way to open a vampire film, though nowadays it would seem almost a parody. "Undead undead undead" indeed. Enter Cathy and Bowie into a slick, sleek, neon nightclub, filled to the rafters with post-punks & pre-Goths playing dead. Too bad they weren't as ready for the real thing as they thought they were. You see, Cathy and Bowie are vampires.
This is a visually stunning film, making up for in effects what it sometimes lacks in coherence. It seems that lovely, immortal Cathy, called Miriam, is a vampire queen who has been around since the Sphinx was built, apparently. Bowie is her consort, a once mortal man whose two hundred-odd year lifespan is suddenly winding down at a frighteningly rapid rate. Desperate to find a cure, he seeks out scientist Susan Sarandon, who at first disbelieves Bowie's claims, but is soon convinced when the young and handsomely androgynous man suddenly ages over the course of a few hours time into a decrepit ruin. Miriam, who has had countless lovers over the centuries, gives Bowie the heave-ho and turns her attention to lovely young Sarandon. But Sarandon, though initially easy to seduce (in an erotic lesbian scene) proves to have a will stronger than Miriam's, and Miriam's habit of keeping her collection of ex-lovers cadavers close at hand, proves to be a mistake.
This is a strange film, almost as cold and dispassionate as one might well imagine a vampire to be. It seems to hold the viewer at arms length, not allowing them to experience the emotions of the characters...but the characters, for the most part, are severely lacking in emotion anyway, so the stark emptiness of the film becomes a brilliant mirror. Some vampire enthusiasts might find this boring and confusing, but it's a good effort and not a total loss.
The three main characters are worth watching simply for their amazing beauty and grace. Tony Scott (brother of Ridley) has made a nice, if somewhat bizarre and chilling, work of art here and, like most works of art, it's up for interpretation.
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"The Hunger" opens with the by now familiar Goth anthem "Bela Lugosi's Dead" by Bauhaus. Not a bad way to open a vampire film, though nowadays it would seem almost a parody. "Undead undead undead" indeed. Enter Cathy and Bowie into a slick, sleek, neon nightclub, filled to the rafters with post-punks & pre-Goths playing dead. Too bad they weren't as ready for the real thing as they thought they were. You see, Cathy and Bowie are vampires.
This is a visually stunning film, making up for in effects what it sometimes lacks in coherence. It seems that lovely, immortal Cathy, called Miriam, is a vampire queen who has been around since the Sphinx was built, apparently. Bowie is her consort, a once mortal man whose two hundred-odd year lifespan is suddenly winding down at a frighteningly rapid rate. Desperate to find a cure, he seeks out scientist Susan Sarandon, who at first disbelieves Bowie's claims, but is soon convinced when the young and handsomely androgynous man suddenly ages over the course of a few hours time into a decrepit ruin. Miriam, who has had countless lovers over the centuries, gives Bowie the heave-ho and turns her attention to lovely young Sarandon. But Sarandon, though initially easy to seduce (in an erotic lesbian scene) proves to have a will stronger than Miriam's, and Miriam's habit of keeping her collection of ex-lovers cadavers close at hand, proves to be a mistake.
This is a strange film, almost as cold and dispassionate as one might well imagine a vampire to be. It seems to hold the viewer at arms length, not allowing them to experience the emotions of the characters...but the characters, for the most part, are severely lacking in emotion anyway, so the stark emptiness of the film becomes a brilliant mirror. Some vampire enthusiasts might find this boring and confusing, but it's a good effort and not a total loss.
The three main characters are worth watching simply for their amazing beauty and grace. Tony Scott (brother of Ridley) has made a nice, if somewhat bizarre and chilling, work of art here and, like most works of art, it's up for interpretation.