The Worst Film Ever

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

Good films always raise compelling questions, whether the format is fiction or documentary fact.

While it doesn't offer any answers, it both thrills and makes you think.

This film was remarkable in its way - It's almost as if the team responsible threw a bunch of crap against the wall to see what stuck and, when none of it stuck and it all just landed on the floor they just filmed the big pile of crap. This movie makes me regret that I'm not already in a suicide pact. And apparently George Lucas saw it and thought 'that's the guy I want to direct the next Star Wars!'. Because obviously a guy who sold a space opera to a greedy mouse is a good judge of cinema. Dear lord, that was terrible. Dear, dear lord, kill me please. Thank you lord. 1/10.

Laura Mars is a very successful fashion and advertising photographer. Whilst at one her art launches, Detective John Neville notes striking similarities between her art photos and those of actual crime scenes. Although suspicious of her, he soon realises that she hasn't been involved in any of the crimes but can see what is happening through the eyes of the killer. After her friends and some of her models are killed, she joins forces with the future U.S. Marshal to identify the killer before she is next.......It's a silly movie for sure, the majority of the film from a characters point of view is seeing Dunaway/Mars taking lots of photos of scantily clad ladies before standing there silently for a few minutes and then running off without explanation. Ironically, if we saw the film form someone else's point of view, it would have made for a more tense thriller.But this is high concept for you, and knowing that De Palma was doing good things homaging Hitchcock, Kershner must have wanted a taste before hitting the heady heights of Star Wars, Bond, Robotic Police, and..................Seaquest DSV.And for the most part, it's pretty entertaining, having the plethora of red herrings thrown at the screen is always a camp treat, but I'm sure it would have been more fun back on its initial release, as I'm sure Dourif wouldn't have been a suspect as soon as we saw him, because Child's Play was ten years away.Sub characters are the archetypes you would expect when the film focuses on the upper class, all la dee dar, and abhorrent toward one another, Laura aside, you couldn't really care less who out of her group is next.Jones is good, he's just a younger Gerrard in this, and he steals the film from anyone, thanks to his intense performance.If your a fan of this type of sub genre, you can see the ending coming quite soon into the films second act, but the outcome is quite entertaining.And it has a soundtrack that could rival Saturday Night Fever.Not brilliant by any means, but it's a lot of fun.

It was nice to see some old classic work in the late 70's from John Carpenter before his big break of stardom on "Halloween". With this work which John wrote "Eyes of Laura Mars" is one filled suspense thriller of drama and violence that keeps a viewer on the edge of their seat and it twist with a surprise. Set in New York City Faye Dunaway is an art fashion model photographer who starts to have visions of killings that are being done by a serial killer just like a psychic she sees it before it actually happens. One by one the clues lead closer to her. Look for Brad Dourif who gives a creep like turn as a drifter and my man Tommy Lee Jones is in top form as detective John Neville. Anyway aside from the blood, drama, suspense and sex in the end this picture takes a twist you really don't expect who the real killer is it will shock!

In this violent, sado-masochistic thriller, then recent Oscar Winner Faye Dunaway ("Network") began her descent into decline with a role that, in spite of its juiciness, is defeated by a rather absurd premise and an even more ridiculous conclusion. Faye does an outstanding job as the Mahogany of photography who can see murders in her mind's eye as they happen, but is helpless to stop them. She plays a totally sympathetic character practically unlike any role she played during this era ("Voyage of the Damned" being possibly the only other role), extremely as far away from her neurotic character in "Chinatown" and the power-hungry executive in "Network". She is as far from her infamous role of "Mommie Dearest" as she can get, although she reminds me a lot of Miss Joan Crawford in a 1952 thriller called "Sudden Fear".Top billed leading male Tommy Lee Jones plays a cop who decides to protect her and eventually falls in love with her. The supporting cast is filled with interesting performances, particularly Rene Auberjonois as a stereotypical gay assistant, obviously modeled on Clifton Webb in "Laura". Raul Julia and Brad Dourif add some creepy performances as well. Stage and soap actress Meg Mundy has a nice brief role as one of the victims. Views of New York City in the late '70s are quite well filmed, and you won't soon forget the shot of Columbus Circle with two women clad only in their scanties and mink coats going at it after a faked car accident while Dunaway snaps away. Add on a spicy Barbra Streisand song ("Prisoner") as well as some disco hits of the day. But a lack of cohesion and the final revelation both dates and destroys the credibility that earlier parts of the film had developed earlier. Try not to compare this to some of Hitchcock's later films and sexual thrillers of the 1980's and 90's like "Fatal Attraction", "Sea of Love", and especially "Basic Instinct".