Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

One of the worst ways to make a cult movie is to set out to make a cult movie.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

This movie was excellent overall with the actors playing their roles well especially Mickey Rourke and Lisa Bonet who both did an outstanding job in their roles. The script was well written and the cinematography was excellent with location shooting in both New York and New Orleans which is why I gave it 10 stars. Also the dvd that I watched had two commentaries one by the director and another by Mickey Rourke which were excellent along with a documentary about voodoo and interviews with the cast and the director along with a photo gallery.

As dark and brooding a slice of American Gothic as you could wish for, ANGEL HEART is one of the best straight horror outings to come out of the late '80s – a time when most genre offerings were cheesy, rubbery outings of stupidity. ANGEL HEART is in essence a mood piece. Set during the 1950s, it chronicles the efforts of a private detective to track down a missing person who soon finds himself in some very dark places. With a string of unpleasant sex and violence scenes, excellent direction from the always-good Alan Parker and some quite wonderful performances, this is a real classic. There aren't that many films that deal with modern-day voodoo in a non-biased way so this one's a real treat.Parker is adept at crafting atmosphere and you can almost smell the cigarette smoke in this seedy, grubby little film. Mickey Rourke, in a career-best performance, is Harry Angel, the protagonist. Angel is a pretty unpleasant guy who thinks nothing of using violence as a method and yet Rourke embodies him with a raw humanity that makes us warm to him from the start. Although he's the archetypal tough guy he projects an air of bruised vulnerability that makes him riveting to see on screen. He has some great supporting actors with him, too; Lisa Bonet excels in a layered performance as the voodoo-practising Epiphany Proudfoot; Charlotte Rampling as a fortune teller; finally Robert De Niro, as great as ever as the sinister Louis Cyphre.The film is pretty slowly paced but laced with moments of action and violence that breathe life into it. My attention never wavered for a second. There are occasional missteps – I could have done without the 'glowing eye' stuff that takes place at the climax, that only serves to cheapen the effect; good when used in films like FRIGHT NIGHT, but not here! But the handling of Rourke's gradual realisation as he pieces together the mystery and his final understanding of the true horror of his situation is top notch and the film then ends on an unforgettable piece of imagery. Altogether a great work and a film I thoroughly enjoyed.

Alan Parker has established himself as a versatile master which can cope with a prison parable based on real events («Midnight Express», 1978) or a youth musical («Fame», 1980) and the film adaptation of the rock opera («Pink Floyd The Wall», 1982) or a dramatic story about the fate of the soldiers with the "Vietnam syndrome"(«Birdy», 1984), to the end of the decade, based on the novel by William Hjortsberg «Fallen Angel» (1978), made ​​his most gloomy and atmospheric a film in which "the biggest hope and biggest disappointment of 80s" - actor Mickey Rourke, who is at the peak of creative forms, played his best role of his career. «Angel Heart» became the quintessential postmodern exercise Parker styles. The film, which began as an urban noir in the scenery of New York, quickly turns to the mystical path of detective, changing geography and immersing narrative stuffy Southern Gothic's macabre of New Orleans (one of the most famous scenes in the film Parker pays tribute to the creativity of Andrei Tarkovsky and his masterpiece «The Mirror») to the finale taxied to Revelation: insight to the protagonist (and with it, and to the audience) comes too late in the literal sense - Angel really is an angel, only Fallen Angel. The entire film is agonizing attempts restless soul Angel defer its verdict. But like any self-respecting noir, he was doomed from the beginning, long before the meeting with the infernal Louis Cyphre an impressive performance by Robert De Niro. Herein lies the paradox of film noir genre - the sinner is committed to the Lord prescribed redemption, but in vain. Fan blades (one of the main visual symbols of the film), like the wheel of history, continue to cyclic rotation, only the acceleration time is almost tangible stuffiness inevitable fate, and a lift to the scaffold is already waiting, just press the call button.

Angel Heart is all about atmosphere: Dark, suspicious, dangerous and supernatural. Few horror movies get to be this good; and many try to emulate it's mood to no avail.Angel Heart is considered Alan Parker's Master Piece for a good reason. The acting is quite excellent (except maybe for Eliott Keener, playing as Det. Sterne); Rourke, Bonet and De Niro make a fabulous tríade. The general photography delivers a sense of dark eeriness and estrangement and the Sound Track (mostly Blues) works like "a charm".As a side note I would also like to mention the actor Pruitt Taylor Vince, who in this film acts as a sidekick for Det. Sterne; but the curious tidbit is that you also get to see him on "Jacob's Ladder" (1990), another Thriller/Noir Master Piece of eeriness (though a very different movie), and as memorable as Angel Heart.