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.
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.
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.
Billy Dee Williams,
Family moves to military base for the summer, but the soldiers are behaving even more strangely than usual. Is it a toxic spill as suggested or is it something more sinister?Written by
Andrew Welsh <firstname.lastname@example.org>
The novel Marti's reading in the car at the beginning is "The Cement Garden" by Ian McEwan. See more »
In the opening sequences, Marti is sitting on the right side of the car looking out the window. When it cuts to show her viewpoint of the moon and passing trees, the perspective is as if she were on the left side of the car. See more »
Seven-fifty-nine, Sector C.
[Running down stairs]
Carol! We gotta go, we gotta get out of here! We gotta go right now!
Listen to me, Steve.
No, you don't understand! We gotta go!
No, we gotta go! What the hell are you talking about?
Steve, this is important. Go where? That's right, go where? What happened in your room... Are you listening? What happened in your room is not an isolated incident. It is something that is happening everywhere.
What are you talking about?
[...] See more »
Okay, the 1956 original paved the way and has to get the credit for that, but from an objective point-of-view, both the 1978 and this 1993 remake are better, scarier, more developed. In comparison to the second version, this one has a nowhere nearly as brilliant, rather disappointing ending, but the pacing is must faster. Abel Ferrara keeps the movie running for only a tight 85 minutes, and pushes all the right buttons along the way; the horror ranges from the gory (the melting heads) to the supremely subtle (the scene in the classroom, where all the kids draw the exact same picture, except for one, who naturally realizes that something is wrong - the teacher seems to want to punish him for being different). This is a spine-chilling, absolutely terrific little picture - but even if it wasn't, it would still be worth seeing just for Meg Tilly's exceptional performance - her "where are you gonna go?" monologue is as scary as anything in say, "Psycho" or "Rosemary's Baby". (***1/2)
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