Strippers in Manhattan are being stalked and maimed by a psycho-killer. A conflicted ex-boxer-turned-talent-manager and his business partner and friend, who represent some of the girls, set out to find him before he strikes again.
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.
A timid and mute seamstress goes insane after being attacked and raped twice in one day, in which she takes to the streets of New York City after dark and randomly shoots men with a .45 caliber pistol.
An ogre keeps in his castle two children, whom he intends to eat. A knight and his companion will try to save them, and will be assisted by the ogre's wife, who thus will also get rid of her husband. A medieval story in contemporary settings.
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 »
In New York City, a psycho killer is stalking and randomly slashing and killing strippers working in various nightclubs. Matt Rossi is a former boxer trying to escape his past whom is currently employed at a talent agency which caters exotic dancers to the mafia-controlled strip clubs all over Manhattan. Matt and his business partner, Nicky, are relentlessly dogged by Al Wheeler, a persistent police detective on the case of the murdered strippers, and hoping to find something to nail both Matt and Nicky on. Matt is trying to reconcile with his former flame, Loretta, whom also works as a dancer and has a off-again, on-again drug problem. With the police constantly hounding them, and under pressure from his mob boss and other bosses to do something, Matt must somehow face his inner demons to find the killer before he strikes again.Written by
The name of the killer featured in the film was never revealed, nor is the actor who played him during the end credits of the film. See more »
[as Rossi drives off]
There's nothing I hate more than guineas in Cadillacs.
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The US television version maintains the same running time as the theatrical version (to the second), but eliminates much nudity, violence and swearing. To compensate, a number of extra scenes have been rescued from the cutting-room floor. It is this TV version that was used for the British video release (on three different labels - EMI, Warners and Lumiere), with more footage cut by the distributor. See more »
Ferrara takes on the mainstream... and we all lose.
I think Abel Ferrara is quite possible the most underrated director working in America today. I have seen most of his movies, and even though they are a mixed bag, even his "failures" are at the very least interesting. Well I would have said that until finally seeing 'Fear City' his follow up to his revenge exploitation classic 'Ms. 45'. Like that movie 'Fear City' is written by Ferrara's regular collaborator Nicholas St.John so it's hard to see initially why this movie is so mediocre. At first, listening to the cheesy AOR title song ('New York Doll', by bizarrely enough former New York Doll David Johansen!), I thought I was in for some 80s damaged thriller, slightly flawed but still tough and substantial, ala Frankenheimer's '52 Pick-Up'. But no, as the movie progressed it became rapidly apparent that this was a major compromise, with little if any of Ferrara's usual sense of danger. Seeing someone like Tom Berenger star instead of an actor of the Keitel/Walken calibre, and Melanie Griffith instead of say, the late Zoe Lund, really tells you where this movie is coming from. The supporting cast includes hacks and non-talents like Jack Scalia, Billy Dee Williams, Rae Dawn Chong and Joe Santos. The only actor on screen I enjoyed at all was Michael V. Gazzo, who played Harvey Keitel's money lending old man in the brilliant 'Fingers'. Apart from his few noteworthy scenes, this is a tedious serial killer "thriller" pretty much on a made for TV level. A major disappointment and easily the least worthwhile Ferrara movie I've seen. For completests, or possibly masochists only.
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