Opiniones de usuarios

I admit when I rented this movie, I did so just to get some cheap thrills. I was aware of the negative reviews from uptight critics who dismissed it as sleaze, and to be honest, that's what I was in the mood for. Besides, my curiosity was aroused. (No cheap jokes, please!)

To my surprise, this is actually a compelling, well-crafted thriller. Let me take it a step further. It's an improvement over DePalma's effective but overpraised "Dressed to Kill." "Body Double" is actually better-constructed and better-paced. Perhaps the extremes of the film's content turned off some members of the critical community. And keep in mind that many of these people loved Dressed.

However, if you can stomach some of the content (it would certainly warrant an NC-17 in today's climate), there's much to like here. DePalma's approach might be manipulative, but when he does so this effectively, it's hard to complain. Technically, it's a marvel of film technique. Wasson's claustrophobic attacks are effectively conveyed to the viewer. When they hit him, they hit us just as hard. The very ending, which I wouldn't dream of giving away, is a work of pure genius. The infamous drill murder is a terrific setpiece.

One aspect that interested me was its attitude towards porno. So-called "dirty movies" are not condemned, but treated as simply being another side of the film industry. It's not considered right or wrong; it's just there. Such a nonjudgmental outlook is refreshing after hearing the tiresome rants of self-appointed "moral watchdogs." Likewise, there is a loving tribute to B-movies during the opening and closing credits.

"Body Double" isn't good art by any means, but it's good trash. Watch it, and you will behold DePalma at his sleazy best. He makes no apologies for what he does, nor would we want him to do so.

***1/2 (out of ****)

Released by Columbia Pictures

I am a Brian DePalma's fan. I love his style, his visual uniqueness, his ability to grab me from the very opening of his films and not let me take my eyes off the screen until the very last moment and even after that keep me a captive of his dangerous yet seductive worlds. I liked a lot every De Palma's film I've seen: The Black Dahlia (2006), Femme Fatale (2002), Snake Eyes (1998), Mission: Impossible (1996), Carlito's Way (1993), The Bonfire of the Vanities (1990), Casualties of War (1989), The Untouchables (1987), Scarface (1983), Dressed to Kill (1980), and Carrie (1976).

As with all his films, you either love "Body Double" and let its typical De Palma's over-the-top charm, his mesmerizing beautiful camera movements, his 20 minutes long, dialog-free pursuit sequence, his intense interest in exploration of sexual "dysfunction," his constantly present obsession with voyeurism, his satire on making cheap horror and adult movies, and his loving yet humorous homage to several Alfred Hitchcock's films overwhelm you or you just dismiss it scornfully for its most impossible and unbelievable story, for the plentiful coincidences and the holes in the plot, for the excessive violence, and for its sensationalism and exploitation. I found "Body Double" shocking, poignant, satirical, often hilarious, and always highly entertaining. Once again, De Palma did not disappoint me. I figured from the beginning where the story of a struggling B-movie actor (Craig Wasson) with many problems (claustrophobia that cost him a part in a horror movie, break-up with a cheating girlfriend, witnessing a gruesome murder and becoming a possible suspect) would lead. It did not stop me from enjoying the film and admiring De Palma's ability to trick me not just once but many times by making me see what he only wanted me to see, yet never hiding the whole picture and using to perfection his magic camera that "lies all the time; lies 24 times/second". I believe that De Palma himself has provided the keys to better understanding and enjoying his films when he said, "My films deal with a stylized, expressionistic world that has a kind of grotesque beauty about it." All we have to do - to recognize the beauty behind the grotesque.

P.S. Melanie Griffith gave her best performance and stole all her scenes as a hot blond smart porn star with "a head for business and a bod for sin" who might help Jack to solve the mystery of the brutal murder he had witnessed.

P.P.S. After I finished watching "Body Double", I added to my rental list "Blow Out" (1981) and "Sisters" (1973). Exploration of De Palma's worlds continues.

I've been a fan of De Palma long time and I just saw this one this night. To my enjoyment, I had a few smiles, even laughters, intensity, involving to the storyline, getting that suspense that is needed.

This movie is a perfect example to pull of what Hitchcock has done best in "Rear Window" and "Vertigo". De Palma set up those two basic ideas into a story that's really enjoyable and intense same time. Especially when you are in the knowledge of the movies of the 40s and 50s and the art of making a thriller you are just going to be pleased.

My guess is that De Palma made this movie out of pure pleasure, doing all those great stuff with claustrophobia, sexual need, voyeurism, grotesque murder, and most of all terrifying suspense.

The murder sequence was in my opinion of a well crafted exercise in suspense. You fear, then you hope, then you try to guess, it goes all right, then all wrong, the hero comes, it seems at right time, but still too late, it all goes on and on and you can't believe it happened. Loved and hated the sequence, for film-making and emotional purposes.

Not the greatest, but definitely one of De Palmas best.

Jake is a washed up actor who walks in on his girlfriend with another man and so it means his got to find another place to live. Plus he is fired from the vampire movie he was involved in because that of his phobia of confined places. So, when Jake is checking about for some acting gigs he meets another struggling actor who offers him place to house sit and it does have its perks. Through a telescope he can spy on his neighbours, which through one window a lady goes through the same strip routine every night. Jake becomes extremely obsessed with the woman and he gets caught up in a seedy web of intrigue when he witness the woman being killed.

De Palma goes all out on this occasion with his obsession with Hitchcock and the master's films that are under the spotlight in this voyeuristic thriller are "Rear Window" and "Vertigo". While, there might be elements borrowed from those films, De Palma still brings to the party his own distinguishable style and perspective. I've enjoyed most of his works and this one joins the ranks. Well, maybe one of the lesser ones since I was a bit iffy on it at times. I'll admit - it's pure trash, but technically it's done so well with many fashionable touches worked into this artistic piece of steamy erotica that I just found it hard to take my eyes off it. Some of those facets that make a mark is the camera-work that's handle rather silkily with it's many gliding shots and innovative angels. The taunting score rallies up the tension remarkably well and actually generates an alarming awe. There are some odd, kinky and down and out heart stopping images like that of the infamously lurid drill scene and a couple of downright claustrophobic build ups. The female cast involving Melanie Griffith and most definitely Deborah Shelton are desirably seductive. Craig Wasson as the down on his luck actor Jake was solid, but it's the freaky villain of the piece "The Indian" that will catch your eye and make you real nervous. Also there's a neat cameo role by Dennis Franz as a director, which is a neat treat. The over-the-top story tightly constructs itself around a complicated web of twists and turns involving sleaze and murder, but when it came to its climax it felt convoluted and rushed. The confusing revelation doesn't seem as effective and clever as it may think. Hollywood even comes under fire with it being mock with De Palma using the porn industry to do so. Anyhow, remember to shut your blinds, as who knows maybe someone is peering into your window right now. ;)

"Body Double" is a flawed, but an interesting concept that I could not help but go with the flow.

Mysterious story , competent performances and sense of style about a second-rate actor who witnesses a brutal slaying . The film begins and ends with the protagonist, Jake Scully (Craig Wasson), playing the part of a vampire on the set of a low-budget horror film . After he ruins a take by being unable to rise from a coffin due to claustrophobia , a fire breaks out on the set and he is sent home by the director Rubin (Dennis Franz) . Scully arrives home early and catches his fiancée (Barbara Crampton) having sex with another man . Since it is the girl's apartment , he must leave, so without a place to stay he heads to an acting workshop, where he makes a new friend, Sam (Gregg Henry) . Sam offers him a house-sitting arrangement at an opulent Modernist bachelor residence high atop the Hollywood Hills . He also points out a sexy female neighbor, Gloria Revelle (Deborah Shelton),whose seemingly exhibitionistic antics can be viewed by telescope. Then the young actor's obsession with spying on the bombshell woman who lives nearby leads to a baffling series of events with drastic consequences . A seduction !. A mystery !. A murder !. Brian De Palma the modern master of suspense invites you witness . Do you like to watch? You can't believe everything you see.

A classic in suspense from De Palma , pitching us right into the action from the beginning and baffling most of us to the ending. Concerning a B-actor that when a grisly murder happens it leads him into an obsessive quest through the world of pornographic movies . The film displays a great and haunting musical score by Pino Donaggio , De Palma's favorite composer and imitating former hits , along with appropriate cinematography . There is much for De Palma buffs to savour in this thrilling and atmospheric handling of a complex story with deliberately old-fashioned treatment. Craig Wasson is assured as ever as the obsessed actor battling against his obsessions and Melanie Griffith in a difficult role as the porno actress who looks exactly like the woman on the the window , she strangely adds depth to her acting . An adequate frisson is supplied by Melanie Griffith , the daughter of one of Hitch's favourite blondes , Tippi Hedren , star of ¨Marnie¨ and ¨The Birds¨ . There are tense key images that that are brilliantly staged. This thriller flick is plenty of mystery, intrigue, and suspenseful . Adding special characteristics techniques as ominous camera movements .

It contains colorful and evocative cinematography by cameraman Stephen H. Burum , as well as perceptible , impressive musical score by Pino Donaggio . Very good and graphically mysterious direction from Brian De Palma . Brian De Palma's homage to Hitchcock and the chief amusement turning out to be inquire what scenes taken from Master of suspense . That's why takes parts especially from ¨Vertigo¨ and ¨Rear Window¨. All this said, the mechanics of suspense are worked quite well and may frighten the easily scared quite badly , but De Palma has made a habit of dwelling on their more sordid side-shoots . The picture is brilliantly directed by Brian De Palma. This one along with ¨Sisters¨, ¨Dresssed to Kill¨, ¨Blow out¨ are outwardly another ode to Hitchcock , but the Master might well shift uneasily in his grave at the long-drawn-out tension , and the shock effects with the accent on the killing , but on most occasion is thrilling . Rating : 7/10 . Above average but gets some riveting basic ideas and fascinating images . Nowadays , being a highly considered film ; that's why it is deemed by many to be one of the Brian Palma's best.

Body Double is directed by Brian De Palma, he also co-writes the screenplay with Robert J. Avrech. It stars Craig Wasson, Melanie Griffith, Gregg Henry, Deborah Shelton, Guy Boyd and Dennis Franz. Music is by Pino Donaggio and cinematography by Stephen H. Burum.

Brian De Palma continued his crusade to push buttons of the sensitive whilst homaging his hero Alfred Hitchcock, with this cheeky, garish, sleazy thriller. Even when moving away from Hitch like movies, he created a storm with Scarface (1983), so the critics of 1984 wondered if a return to suspense thriller territory would put the director back on an even cinematic keel? Not a bit of it! The reaction to Body Double was ridiculously over the top, apparently a misogynistic homage to the porn industry, with exploitation gore thrown in for good (bad) measure, Body Double was the devil's spawn in the eyes of critics. The public? Not so much, film was a sure fire hit at the box office.

Of course today it seems all very tame, where not even a simulated drilling killing can raise the temperature of the audience, or that frank sexual language and bare bodies no longer makes cinema goers blush. On reflection now it's easy to view De Palma's movie as a visionary piece of work, a film gently poking the ribs of Hollywood and the MPAA, and as was always the case with his 70s and 80s work, he was a director who easily elicited a response from his audience. And with his box of cinematic tricks still impressive before he became over reliant on them, Body Double is a fascinatingly lurid viewing experience.

That it's Vertigo and Rear Window spliced together is a given, but that doesn't make it a bad film, besides which it bears the De Palma stamp as well, undeniably so. Plot finds Jake Scully (Wasson), a struggling actor with claustrophobia, thrust into a world of murder, obsession, deceit and paranoia, for when he house sits for a newly acquired friend, he spies a sexy lady through the telescope apparently being stalked by an odd looking Native American. To reveal more would spoil the fun of anyone watching for the first time, but suffice to say that Jake has entered the realm where neo-noir protagonists wander around wondering how and why they are in this mess.

It's pulpy and pappy, but in the best ways possible, and unlike many other films made by directors who ventured into similar territory, it's never boring (hello Sliver). Cast are appropriately cartoonish or animated, the twists fun if not hard to see coming, and with De Palma's visual panache cosying up nicely with Donaggio's musical score, Body Double is fine entertainment brought to us by a director with a glint in his eye. 8/10

This was a wild, confusing - and extremely stupid - movie for the first 50 minutes BUT once the action kicks in and all the twists and turns begin happening, it's definitely a fun ride from that point. That's director Brian De Palma, for you: intriguing visuals, with Alfred Hitchcock- type camera angles, a lot of twists and sometimes a great movie and sometimes a very bad one. More often, sad to say, a bad movie.

I'd have to rank this closer to "bad" than "good." I'd like to rank it higher but Craig Wasson's character, "Jake Scully," (he's the lead) was so stupid at times that I almost stopped the tape. That, and too mean an edge overall to this movie, made it unappealing. It's not far removed from a very soft porn film at times, either, since the female lead, played by Melanie Grifftith, plays a porn star. We see a fair share of nudity, although it's hard to complain looking at a naked Griffith.

Overall, it has style - De Palma loves that - but it plays like a film that that thinks it's smart, but doesn't connect to its audience.....sort of like Hollywood in general.

With Body Double, Brian De Palma has another of his "Hitchcock rip-offs", but in quotes as it's the easy critical thing that's already been said by others. The film is really a lot more cunning than that, and has a level of cunning wit that one could more associate with De Palma's early comedies that felt very much about skewering the style being homaged as opposed to incurious methods. If one looks at it as much as a big wink and a nod to films like Rear Window and especially Vertigo, with a lot of direct jabs at Hollywood and the whole method of acting and pretending, there's a lot on the table. It's also tasteless in its outrageous depictions of sensuality and seduction, not just sex which gets a lot of wicked moments that veer almost totally into what's being made fun of, and has a huge "gotcha" ending that works specifically for its shock value. It's own self-consciousness is a huge asset, as when De Palma is at his best or at least most assertive, in this case pushing the taboo of mixing regular dramatic fiction with soft-core porno to a limit with glee.

It's not even that one can't take it sort of seriously as a work of kind-of pop-art, as in taking in the outlandish brilliance of a much better-than-average paperback book, because De Palma is on his toes the whole time in crafting a melodramatic thriller. There's even an experiment in tension which starts as an long homage to the 'following' sequences in Vertigo, but then building to a high crescendo and then to another. In fact, Body Double is silent for a lot of the time, but as something that is worked into the main character. Craig Wasson is a perfect foil for the events that unfold around him as the "witness" to all that comes before his watchful eye in a befriended man's apartment. In what is, to be sure, fairly typical material for the director with the basics of the substance, the story calling back to Hi, Mom and Sisters especially (hence as well the connection to the knowing dips into comedy, of which both of those could be considered as), though this time the 'hero' is a of weakling with panic attacks at the moment to act, albeit already an actor. A murder is witnessed following a pivotal plot point and high-flying moment of romance (again, calling attention to its over-length), then the dive into porno comes around.

It's trashy, sure, but why shouldn't that make it more enjoyable if one's to get the kidding and sharp sensibility after a while? Wasson, looking a bit like a double of Bill Maher sometimes, has the expression of terror in his eyes, and a kind of strange guts needed to pull off a hilariously flawed pawn. De Palma also intentionally casts to type with both women and the villains, one for each being more deceptive (i.e. Henry's Brouchard and Shelton's Gloria, who are very much like "movie" caricatures from the craftiest and most seductive of film-noir), and with one 'villain' called the Indian, donning a face that's a riot just to look at, who at one point engages in a murder including the most blatant phallic imagery in any murder scene from the filmmaker. But, again, it all works exceptionally for rhythm and a sort of momentum build into even the smaller moments. As cheesily 80's as it is, I loved the whole music video Relax, where occasionally as De Palma almost makes us forget that a movie is being shot within this scene, the camera shooting Wasson and Griffith comes into view in a mirror. But that's just a sly joke, as opposed to the scenes where suspense and humor get the back and forth treatment, where you aren't sure whether to laugh or cringe or look at the screen through closed fingers peeking out.

I can actually understand some of the negative criticisms of Body Double. I probably wouldn't be so forgiving of it being so proudly 'B-movie' while appearing to be a big Hollywood crime-drama, if I wasn't at least intrigued on the outset from the sensibility behind it all. 'Guilty Pleasure' comes to mind as a defense, but I should digress into what it really comes down to- either you'll go along for a De Palma atmosphere that is wild and cynical and full of rough-edges, or you won't. In other instances with the director I've gone for the latter, but this isn't one of them. One of the best of 1984.

Body Double is ridiculous. One of the more ridiculous movies I have seen, maybe ever. Everything about it is completely over the top - while this is probably why a lot of people love this movie, for me it mostly had the opposite effect.

First, let me talk about what mostly weighs it down. The lead character is pretty much unbearable. He has very little personality aside from an overblown and unrealistic claustrophobia problem, though he does end up unsheathing some major things it's still painful to watch the journey because he is an awkward, despicable creep the whole way getting there. I disliked him more and more with each shot. While the story seems to be written to be purely entertaining and not realistic (AT ALL), it just doesn't work for me in this case. There are too many cases in nearly EVERY scene where I found myself getting frustrated, saying aloud "That would not happen!", "That is not how that works!", "Why would anyone ever do that?!" constantly, over and over, more than I have done with the majority of movies in my life. The entire thing feels like a "complex" plot that someone planned out a week or two before shooting, and didn't give it any time to marinate and tweak anything to make it feel more organic. But, hey, if you just want an over-the-top B-movie sort of experience, this might tickle you the right way.

One thing that is starting to win points with me after letting this film sit in my mind overnight is that due to it's extremely unrealistic unfolding of events, it does give the film a sort of dream-like or nightmarish sort of quality in your memory, which is always something that I value. Other strong elements are the fantastically eerie and intense music score by the legendary Pino Donaggio, Melanie Griffith at her sexiest and most scant possible, and a few sequences that you won't forget due to some really effective and very Hitchcock-ian cinematography.

Overall, this film really does stand out, but I could never call it a GOOD film. If you just want to see something that is absolutely over the top, functions under it's own set of rules, and is a bit of an anomaly in movie history, especially as something that was created by someone who is considered "a legendary film director", then you'll want to see this at least once. Generally I'm sucker for rule-breaking, absurdist films but this one just hit wrong in too many different ways, which I could not ignore.

Skip this one, unless you are trying to learn how NOT to make a good suspense flick. This is De Palma's worst movie by far. After the successes of 'Carrie' and 'Dressed to Kill', this is a sadly disappointing piece of crap. The script/screenplay by Brian De Palma and Robert J. Avrech is simply awful. The plot is ludicrous by any standard, and has more inconsistencies than O.J.s testimony. The leading man is the biggest idiot in screen history. This is supposed to be suspense, but Wasson's character makes Mr. Bean look like James Bond. Craig Wasson (the lead actor) is the worst leading man I've seen in many years. Melanie Griffith is the only bright light. She is cute and fairly believable in her small role. This film has been described as an 'homage' to Hitchcock. In fact, this is a blatant rip-off of Hitchcock, with a plot ripped screaming from the still-warm corpses of both 'Rear Window' and 'Vertigo'.

Sort of a cross between "Rear Window" and "Vertigo" but instead of James Stewart we get Craig Wasson as a struggling actor mixed in with some sly jokes at the film studios, actors, and adult films. Visually very stylish with hypnotic score. Bizarre music video sequence is well done to the tune of "Relax" by Frankie Goes to Hollywood. If you can look past the plot holes, it's an entertaining over-the-top effort from De Palma.

Of course this isn't a masterpiece, but it is a well constructed thriller. I find it funny that the negative reviews all seem to have figured out the mystery early. Thou protested too much; I don't buy into their "it's too dated" smack. The time and place of this Hollywood is imaginative and really cool. If one needs historical verisimilitude, watch documentaries. This is a fun ride with all the obsessions of DePalma's work (and Hitch, and Powell's Peeping Tom); voyeurism, etc. The fun is in the details and the affect of scenes, not their logic. Since when does an effective thriller need hard cold logic? I've just watched it again on cable and all the haters are just people looking to hate. DePalma's films are always better than the average B-movie, even when they're B-movies. Also, he can shoot; visually always a master.

Visually and musically (Pino Donaggio's a genius) stunning, but like most of this director's work there's too much frosting and not enough cake.

I was introduced to Brian De Palma at the rather tender age of 7, when I watched The Untouchables with my parents. My friend Nicky and I enjoyed it immensely and found the rousing tale of Elliot Ness et al. an absolutely brilliant cop v. robber/adventure movie. Until Tim Burton released Batman in 1989, Untouchables was our game of choice and we would re-enact the entire movie in my back yard after school.

But I'm supposed to be talking about Body Double... To make a long story short, since I was 7, I didn't know who Brian De Palma was, nor did I really care, so I went about my cinephillic youth without completely immersing myself in his oeuvre. I caught bits and pieces of it, encountering Scarface as a fourteen-year-old and finding it laughable, watching Sisters with (how apropos) my sister before I went off to college and finding it intriguing, and finally seeing Femme Fatale when it was released a couple years ago and thinking it amazing.

So, as you can see, I grew into De Palma and, since watching Femme Fatale, I've gone back and watched many of his films (even Phantom of the Paradise, which was an epiphany - go see it immediately). I re-watched Scarface, Carrie, Blow-out, Wise Guys, the Untouchables, etc. and then this week I saw Body Double at the video store. The cover art, which is horrible, drew me in. I said, Jason, that cover art is so tacky and the movie is called Body Double, it must be awful. Flipping the case over, what should I find? De Palma.

Oh my. I scooped it up then and there, went home, and popped it in the player. How had I not heard of this film? Probably because 2/3 of the natural world finds it a trashy piece of filth. I find it brilliant.

It is your typical De Palma suspense thriller. Riffs on Hitchcock, beautifully fluid camera movements, sexual 'dysfunction,' an exploration of voyeurism, Hollywood satire, a convoluted and endearingly unbelievable story...

So why watch it? Because unlike most movies Body Double cannot seem to take itself too seriously. Body Double moves forward with a straight face but, as evidenced by the Frankie Goes to Hollywood video somehow slipped into this film and an awful rubber mask, De Palma's tongue is so firmly in his cheek it's liable to break through the skin. Could a film that's credits hearken back to the EC Comics font really intend to be taken seriously? No. Oh, and for you scenesters out there, QT may have found inspiration for his first film's title in Body Double's final scene which, you guessed it, contains both a reservoir and dogs.

And yet, although the movie on some level parodies the preposterous suspense thrillers of yore, it also never condescends to them. De Palma directs this movie with such glee and exuberance, that you know he loves those types of movies (well, I mean if Phantom of the Paradise, Sisters, and Dressed to Kill hadn't let the cat out of the bag already).

Anyway, if you enjoy maverick directors unafraid of genre-pictures, fun, and enormous drills, this is a movie for you. However, if you like Lars Von Trier or other such beings who take themselves and their art far too seriously at times, go elsewhere.

With a soundtrack that will stick around for days, and that's before you include Frankie goes to Hollywood, Griffith looks great as Holly in this almost comedic take on a familiar 'witness' setup.

Without spoiling the details, there is enough to enjoy here as either a Depalma study or some easy evening viewing. A little disjointed and a few odd filmic choices throw you out of the action here and there, this is why I would use the term 'comedic'... I can't be certain but some of the decisions seem to have either been intentionally tongue in cheek, or at least they were overtly dismissed as such. The movie would definitely have scored less had it not acknowledged these traits.

This has to be one of my favorite films of all-time. I first saw it some ten years ago and I still cannot get it out of my mind. It was in fact, the muse for the future great film "Boogie Nights." It centers a masterful story around the porn industry of Southern California during the early 1980's. It mixes in excellent cinematogrophy with vivid sets and mind altering music. It is as fun to watch as it is to listen to. The story grabs you early and it does not release you till the very end. Mix in comedy, violence, sex and drama, and of course, if Mr. DePalma is involved, you will have more than a few twists (there are plenty). Melanie Griffith is hotter than hot! This movie has it all, I really do love it.

The story involves an out of work actor who is down on his luck. He soon becomes infatuated with a beautiful woman that he sees brutally killed by a rather disfigured Indian character. Ahh, but things are not what they appear to be. To give away anymore would deny you the fun and excitement that comes with watching this brilliant film. Enjoy!

The fact that this film carries Brian de Palma's name has prevented it from being fully recognized as one of the worst films ever made. It's a Mystery Science Theater 3000 waiting to happen, a paradigm example of a film that is "so bad it's good."

The acting is ridiculous and the plot is just plain bad. Go out and see it!

This is a terrific murder mystery / comedy / erotic thriller, and Brian De Palma's next flick after Scarface. Let yourself go along with it for a really fun ride. The style is tongue in cheek, masterful film-making including the usual ballet camera work and wonderfully interesting imaginative staging. It looks like everyone had a lot of fun making this overlooked gem! The star, a young Craig Wasson gives an Oscar caliber performance overlooked by all the critics. What gives with this? Scorsese never won an Oscar for best director either, so the fix must be in. He carries the entire movie and is in practically every scene. An unbelievably great performance! This actor never made it big to the big time, but if you want to see a terrific real actor providing a stunning display of his chops, you must check this flick. Truly one of the great murder mysteries of all time. A real find.

Brian De Palma hit the mark with DRESSED TO KILL (1980), a contemporary take on PSYCHO, but is less successful with this Hitchcock copy, which steals most of it's ideas from REAR WINDOW and VERTIGO.

Craig Wasson stars as a claustrophobic actor who's fired from a vampire film, catches his wife (Barbara Crampton) cheating on him and ends up housesitting for a guy he doesn't even know (Gregg Henry). There he witnesses his beautiful neighbor (former Miss USA Deborah Shelton)getting power-drilled by a creepy, facially-scarred Indian, and ends up in the middle of a complex murder plot, which also leads him into the adult film underworld!

The plotting stretches credibility to the limit, Wasson's idiotic and gullible character elicits no sympathy and the ending is terrible, but some of the porn scenes are well done (and funny!) and Melanie Griffith is great as porn star Holly Body, who is unknowingly tied into the murder. One whole scene is a music video for "Relax" by Frankie Goes to Hollywood. Real-life porn stars Annette Haven, Linda Shaw and Susanna Britton (as Barbara Peckinpaugh) are supposed to be in here, too, and Brinke Stevens can be spotted in footage from "Holly Does Hollywood."