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I'm glad I caught this because what was seen by many as a poor film in 1987 can only be seen as great film in 2007. Angel Heart is one of those films that matures with age and grows on audiences and film connoisseurs alike. A psychological horror/thriller is one of the hardest genres for a director to prosper in but if you were to mix in spiritual and religious elements along with a heap of film noir, a touch of romance and a smidgen of jazz then you would set yourself a near impossible task, nevertheless it would be a task in which Alan Parker would succeed.

The direction of this film is masterful as Parker engages us through a meticulous atmosphere littered with mysterious allegories, gut rendering paranoia and an unmatched sense of place. This unmatched sense of place is a symptom of his stark imagery and sombre lighting which is played out through an amalgamation of film noir and the focal iconography of 50s and 60s French New Wave (the use of elevators, ceiling fans, staircases etc).

For many of these reasons and more Angel Heart is a very influential film and its inspirations can be seen in many of the psychological thrillers/horrors released in the past 20 years, it is thought provoking and at times a lot more disturbing than any of its genre equivalents. The multi-faceted love scene in the film is one such example, it plays very well as it is cleverly interspersed with a host demonic echelons which (given its style and narrative position) I believe to be unparallelled, even in contemporary cinema.

Overall Angel Heart is a very well paced and well acted film – although initially I felt that having Mickey Rourke in the lead role was a poor choice (based on his more recent work) but clearly he was at his acting best in his younger days almost Oscar-worthy, Robert De Niro is also on form as is the young Lisa Bonet – but these performances combined with everything else make Angel Heart a film that will stick with you, not as much as Midnight Express or Mississippi Burning (dir. Alan Parker), but enough to make you ponder why this film wasn't so successful upon its initial release and enough to curse why he didn't spend more time dabbling in the psychological/horror genre.

"Angel Heart" is a true standout film among director Alan Parkers' filmography: a seedy, depressing, disturbing, provocative, and mesmerizing mystery with all the creepy imagery one could hope for. It begins on a very ominous note and remains gripping all the way through its serpentine story. Mickey Rourke, in one of his very best performances, stars as Harry Angel, low rent NYC private eye hired by mysterious Louis Cyphre (Robert De Niro, who's fantastic) to locate a vanished crooner named Johnny Favourite. His search leads him from NYC to New Orleans, and with the story (based on the novel "Falling Angel" by William Hjortsberg) taking place in the mid-1950s, that merely adds to the overpowering atmosphere. Along the way, the dead bodies start piling up, and Harry finds things just getting more and more gloomy as his search moves inexorably towards its devastating conclusion. I think that a key to this films' success is that it *can* work even for the viewer who knows the major revelations beforehand, or guesses at them early on. It's the gravitas that Parker and his fine cast brings to the proceedings that make it so compulsively watchable. Also appearing are Charlotte Rampling, beautiful as ever, in the role of black magic practitioner Margaret, and the stunning Lisa Bonet, who's memorable in the role of young mother Epiphany. Familiar faces in smaller roles include Pruitt Taylor Vince, as a detective (he acted again for Parker in "Mississippi Burning"), Kathleen Wilhoite, as a nurse, Michael Higgins as a drug-addicted doctor, musician Brownie McGhee as Toots Sweet, and Dann Florek ('Law & Order: SVU') as an attorney. As this story plays out, one just knows that whatever Harry finds out, it won't be pleasant, and the dark tone extends to the memorable sex scene, which is erotic and creepy in equal measure. The music score by Trevor Jones is suitably eerie and there's a serving of blues music that is irresistible, adding to the overall experience. In the end there's a strong message about the nature of living a lie, and the final confrontation between two characters is brilliantly subtle, depending on acting rather than spectacle or much in the way of cheese. This represents a solid effort from all concerned. Eight out of 10.

And I can't believe I never threw my two cents in about this one. When I first saw Angel Heart, I thought it was going to be your regular old mystery. Like a Mamet or Spillane yarn about a down on his luck private investigator drawn into a web of lies and deceit… Oh yeah, it IS like that… and then some. I was completely drawn into this movie. I found it perfectly paced. And just like other movies of this type, could not see the end coming at all. However from the beginning it felt like something was kind of different about THIS yarn. I couldn't quite put my finger on it. Kind of like the feeling you get as your walking out of the house and you just know you forgot something but you can't remember what. It was like that, a ‘nagging at the back of your brain' feeling. And then, oh boy! When all is revealed you wish you would have just left without what ever it was you were missing, ‘cause what you find is oh-so frightening. What a terribly wonderful story and what great direction. I can't think of anybody better that De Niro for the roll he played. If you own it: watch in again. If you haven't seen it, you must.

I'm not in the least surprised that other reviewers either love this or hate it to bits - I also bet that it's the younger users to whom the nature of the visual narrative of the film - the way it's all told to us, the viewer - may seem a bit dated. And to a point, they're right - "Angel Heart" is totally an eighties film, a film of the decade in which the movie world was discovering a new visual language in video and playfully indulged in experimenting with its new toy. It was literally speaking to a generation straight out of MTV classrooms and workshops and is in that sense very similar to stuff like "Betty Blue". And true enough, there is a lot to remark on what can today be seen as a slightly poseur-ish "one too many revolving fans, angularly lit staircases and heartbeat sounds in the soundtrack" kind of thing. However, "Angel Heart" does carry a tremendous amount of energy thanks to its imagery, which will stick to the viewer's mind in exactly the same way a sweaty shirt sticks to the body in sticky weather. Besides, the impeccably drawn cast led by Rourke does a truly remarkable job - that's beyond question - the sets are great, production design and cinematography are very evocative, the soundtrack is memorable and the story is one of the crucial ones. I personally love it.

Give it a go by all means.

I do not go much for that Parker kind of stuff("Midnight express" ,albeit technically breathtaking was a little racist,"Shoot the moon" was a big bore,and you've got to be into Pink Floyd to appreciate such a work as "the wall")"Angel Heart " is a different matter,because it deals with the horror and fantasy genre.Against all odds,for someone who had never tackled this difficult genre,Parker succeeded magnificently.The screenplay is first-rate,with a strong story,with an ending you'll never guess (and I will not reveal it of course!)Including drugs,voodoo,sabbath ,intense love scenes,featuring a wonderful cast:Rourke,who had never been better (and never would)and a frighteningly deadpan DeNiro cast as Louis Cipher,this movie takes us along in a meandering,labyrinthine investigation in which private detective Rourke will find so dreadful things he won't escape unharmed. The supporting cast is excellent:Charlotte Rampling stays only a few minutes on the screen ,and yet,we remember her and her tea.The same goes for the junkie doctor.I'd tone it for one thing:the elevator scene might have been borrowed from an old French movie,"Huis clos",directed by Jacqueline Audry,from Jean-Paul Sartre's play(1956).