Susan wants her reprehensible ex-husband dead and, in several bungled attempts by henchmen, tries to accomplish the deed. First her boyfriend hires two dim-witted hitmen. Then she hires a ... See full summary »
Marie has two appetites, sex and blood. Her career as a vampire is going along fine until two problems come up, she is interrupted while feeding on Sal (The Shark) Macelli and she begins to develop a relationship with the policeman who has been trying to put Sal away. Sal wakes up in the morgue very confused and very thirsty. He goes back to his old haunts and begins to create an organized crime family of vampires while Marie and her policeman lover hunt him.Written by
John Vogel <email@example.com>
Phantom of the Rue Morgue (1954) is playing on the television during the morgue scenes, when Macelli is first brought in, and again when he makes his frenzied exit. See more »
When Manny (in hospital) dies and becomes a vampire, his heart briefly stops, causing the EKG to sound an alarm before it starts beating again. He then wakes up and detaches the EKG leads, which ought to trigger another alarm but does not. See more »
I take lives.
Ya well, if you were perfect you wouldn't still be single.
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The story, all names, characters and incidents portrayed in this production are fictitious. No identification with actual persons, vampires, places, buildings and products is intended or should be inferred. See more »
The 2016 DVD edition in Spain edited by "Llamentol" miss a couple of shots:
When Manny throws the doctor to the wall in the hospital sequence.
In Macelli's last monologue the line "I am the light! I am Macelli!". Also the movie is presented in "open matte" with 1.33:1 aspect ratio.
Featherweight dark comedy about a sexy bloodsucker, though exceptionally well-done
John Landis is not the type of director who goes for any deeper meaning in his films outside of the occasional well-staged car chase in heavy traffic; however, this time, working with Michael Wolk's first-rate screenplay, he excels in narrative as well as in visual form. An undercover cop in Pittsburgh, posing as a thief for the Mob, becomes attracted to the scintillating French woman who is hellbent on killing kingpin Robert Loggia (seems she's a bloodsucker by night--and forgot to "finish the food" the evening she put the bite on Loggia's Sal the Shark!). Not terribly bright, but full of puckish black humor and one exciting, masterfully staged sequence after another. And when things calm down a bit, as with the motel sequence between hot twosome Anne Parillaud and Anthony LaPaglia, Landis is adept at smoothly changing the movie's rhythm. It's an impressive, gory, foul-mouthed, yet adrenalized and satirical piece of work, Landis' best. *** from ****
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