Colibel Terrible acting, screenplay and direction.

Lucybespro It is a performances centric movie

Moustroll Good movie but grossly overrated

Fairaher The film makes a home in your brain and the only cure is to see it again.

sllaw_hguorht My buddy came over the other night and we watched like a real movie, but then it was late and the busses had stopped running and we had to find something to do until like 5am when they started running again. So he found this movie and was like "Hey lets watch this s--t" and I was all, "Ok, but it's pretty much just like a two hour music video," which is how I remembered it being, and then we watched it and I totally stand by that evaluation. Also, the last time I watched this movie I had to turn it off because the person I watched it with had a seeing-blood-thing, and oh man do you see some blood in this movie. Jesus. Also you have to look at David Bowie in old man makeup for way too long. And not just like, a two hour music video, but a two hour *early eighties* music video. Like, you know those music videos where it just feels like it's a fashion shoot, but instead of taking pictures they just film some woman in an empty room wearing something weird with like sheets blowing in the background? Like that. But like a movie. Also monkeys screaming over and over and over.

lasttimeisaw The late Tony Scott's theatrical debut feature, a UK production assembles three household names from three different countries, THE HUNGER is a Gothic horror taps into Whitley Strieber's novel about vampirism but only vaguely specifies its origin. It takes place in New York (although the shooting was done almost entirely in London), Miriam and John Blaylock (Deneuve and Bowie) are blood-seeking immortals (the word "vampire" has never been disclosed through the entire film), living in a grandiose mansion, but "immortal" turns out not to be the case for John, since he is originally human and the eternal life which is bestowed by Miriam has a life expectancy (several hundreds years supposedly), so he seeks help from Doctor Sarah Roberts (Sarandon), whose research team is working on the relation between sleep and ageing, but his doom seems inevitable, and it also directly introduces Miriam a new disciple as John's successor, only this time, a shallowly characterised succession will alter their fate forever.As a first-timer, Scott competently captures the ethos of the time to embellish the vampire subculture with the sonic alternation of synth-pop (Bauhaus' opening performance of BELA LUGOSI'S DEAD) and classic pieces (Schubert's PIANO TRIO NO.2 and Léo Delibes' LAKMÉ: THE FLOWER DUET) to underline the dual facets of vampire's lifestyle: their innate dependence on gore and their noble superiority of eternity; also his visual stratagem is exemplary to cast a sensational vibe during the utterly male-skewing erotic lesbian sex scenes and the pigeons and ghastly cadavers galore finale. But as a whole, the film is wantonly garbled without a through- line to sustain the coherence of the plot (e.g. why Sarah's scientific background doesn't elicit any interest in Miriam's undying mystery? also, what on earth happens to the frenzied monkey which kills its partner and ages drastically?).The icy but ever-so-glamorous Deneuve is stunningly camera-genic, Bowie endures a terrifyingly rapid progeria downturn with the zombie-alike make-up efforts, and Sarandon is so earthly banal compared to the alien but dazzling Deneuve. But none of them can outstrip the ill-defined story. The hunger for eternal youth and the fear of ageing play out as one can expect, but mostly it is an enticing piece of kitsch drawing on blatant erotism and gimcrack horror. Nevertheless it does spawn many tributes for latecomers, off the top of my head, John Woo's trademark fascination of pigeons in the action set pieces and the latest American HORROR STORY: HOTEL, the entrance sequence of Lady Gaga and Matt Bomer is surely an updated representation of Denueve and Bowie here.

Dalbert Pringle Hey! Like, what in the name of Count Chocula is going on here!?...... Why is it that modern-day movie-vampires are such messy buggers?? They are. When it comes to their favourite drink, Blood-Thick Slurpees, they splatter and spill the stuff around, all over the place, like it was going out of style.Take The Blaylocks (that's the oh-so-refined Bowie/Deneuve vampire team), for example, they get more blood on the walls and on the floor than they ever do in their mouths. I'm not kidding. And half the time they can't even get it into their own mouths at all. Most of it ends up dribbling down their chins and onto the fronts of their very fashionable frocks. (tsk. tsk) I'm tellin' ya - Vogue magazine would never approve of this. Never.The Blaylocks are total mess-cats when it comes to cadaver snacks and full-meal-deals. And not only that, but they are unbelievably reckless and, yes, stupid, too. When these ultra-chic bloodsuckers are finished with their feed for the night they actually haul the torn and chewed up scraps of their dinner down to their cellar and (get this) burn it up in their very own incinerator.I don't know about you, but I'd say that this is none too bright. After all their trendy townhouse is situated right in the centre of a New York City neighbourhood. And unless the locals there have all lost their ability to smell, the stench and smoke caused by the burning of flesh, surely must have 1 or 2 folks around the hood wondering about The Blaylocks' barbecue specials. But the strange thing is, no one ever complains, or anything. I don't get it.In the good, ol' days of movie-vampires (pre-1950's) The Count, Nosferatu and all their assorted cronies always seemed to be so careful whenever they drained a victim of their life-blood. It's true. You rarely ever saw even a trickle of blood run down a vampire's chin or drip from their victim's neck wound. It seemed back in Hollywood's hey-day that these movie-vampires meant business and sucked the body dry. Yeah,'Good To The Last Drop' was their motto, I'm sure. Everything was so clean and easy back then.But these hip-cat movie-vampires of today let the blood fly everywhere, making big, bloody messes from one end of their fashionable condo to the other. What in the world are vampires coming to? And not only that, but Miriam (Mrs. Blaylock) has a neurotic habit of not letting go of her previous lovers. So, whenever she moves from place to place she, literally, lugs around a dozen god-damn coffins that contain the remains of these dried-up deceived ones who she had promised 'forever' to. If a pile of coffins isn't the sort of thing that will draw attention and suspicion to this particular vampire's undead activities, I don't know what will.But Miriam is also big on betrayal and even before her present lover has actually set foot inside his own box she's out shopping for a replacement. She likes to pretend that this isn't so, but she's no fool and, besides, she is utterly repulsed by the touch of old, wrinkled flesh. Who isn't, baby?I have to give Miriam credit for her latest choice for a lover. Sarah (Sarandon) is actually kind of hot, (as opposed to the scrawny Bowie) but on top of that she really seems to have a brain in her head. At present Sarah's working at a clinic and researching the connection between sleep and ageing. This could well prove to be worthwhile research. And I suspect this is one of the reasons why Miriam chose Sarah. Miriam, I'm sure, has very strong desires to slow down her own ageing even more. And maybe Sarah's knowledge is the key to an answer.But as vampire-lovers these two high-fashion females are doomed. Domination is their downfall. One must rule. One must die. Who that is to be all comes down to the one with the more cunning mind. Who that turns out to be will certainly be of no surprise to anyone, I'm sure.Anyways - From a visual point of view 'The Hunger' is a very impressive film to look at and admire. Lots of moody lighting and stylish sets give it an above average look for a mere vampire flick. Director, Tony Scott (Ridley's brother), does a fine job of setting a even pace in the film's story line. And the gore will satisfy any fan of horror movies, in particular the final confrontation between Miriam and all her long-dead and dehydrated lovers. This girl certainly wasn't idle for a minute. And now the mummified lovers are all coming back to 'thank' her for her loyalty. (Tee-Hee)

HippieRockChick I am not a fan of vampires in any shape or form. Except in the shape and form of David Bowie, who was the only reason I watched this piece of terminal preciosity in the first place and the only reason it gets four stars instead of zero. Well, okay, Tony Scott too, a little. But the rest of the cast, no. Catherine Deneuve always strikes me as a beautiful blank-faced animated dressmaker's dummy, and Susan Sarandon's perky feisty little shtick is wearing very, very thin.But. Vampires. I find them incredibly boring and banal, so really I was just, as I said, watching for Bowie. He looked fantastic, but the part didn't give him a whole lot to do. The shower scene was pleasant enough, and he did have a bit of actual acting to deal with on occasion, but he spent most of the film in old-age makeup, which kind of defeated my purpose. And lesbian sex between Deneuve and Sarandon, oh ick. I'd rather have watched Bowie play some more cello. Anyway, I was bored and annoyed. But don't go by me. Vampire groupies probably love it.