Brooks Wilson is in crisis. He is torn between his wife Selma and two daughters and his mistress Grace, and also between his career as a successful illustrator and his feeling that he might... See full summary »
Eva Marie Saint,
A crooked American businessman tries to push the shady influential owner of a nightclub in Newcastle, England to sell him the club. The club's new employee and the American's ex lover fall in love and inadvertently stir the pot.
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>
First major studio film of Writer/Director/Composer John Carpenter, who wrote the film's screenplay, which was originally titled "Eyes". See more »
During the catfight/car-burning photo shoot in Columbus Circle, Michele motions to Lulu (Darlanne Fluegel) to not pull her hair so hard and says, "God, Darlanne! You don't have to pull it that hard!" See more »
[complaining to a detective who offended him]
Son of a bitch. I'm sick of all this name calling crap!
See more »
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 »
This 1978 chiller directed by Irvin Kerschner (RoboCop 2) and based on a story by John Carpenter, has Faye Dunaway as a fashion photographer who suddenly discovers that she has the ability to "see" through the eyes of a serial killer. All her premonitions of the murders are very accurate, and the victims are all people she knows. Soon it becomes apparent the killer is coming after her. Tommy Lee Jones is great as the police lieutenant/love interest (back when his face wasn't pockmarked with age), and the supporting cast (Raul Julia, Brad Dourif) is excellent. The movie's depictions of the murders were quite shocking for it's day, and it manages to keep us scared and in suspense throughout, though some of the scenes border on grotesque. Direction by Kirschner is tight, music is suitably eery, and the performances are overall impressive. A winner
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