The Hunger - Movie Reviews - Rotten Tomatoes

The Hunger Reviews

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August 20, 2017
Don't listen to the nay sayers, this is one of the best vampire movies ever made. Catherine DeNeuve and David Bowie are so amazingly stylish and sexy, just like vampires are supposed to be.
August 6, 2017
Watched it again after nearly 10 years. Still loved it. Well acted curiousity.
July 16, 2017
Along with 'American Gigolo' and 'American Psycho,' 'The Hunger' defines the 1980's to perfection. The fact it contains Bauhaus, Catherine Deneuve, David Bowie and Susan Sarandon (and was directed by Tony Scott) would be enough in itself for me; the fact it is also a stylish, poignant, sensuous and gripping movie is the cherry on the icing of a most delicious cake.
½ March 14, 2017
Sexy, stylish and moving in it's own right. "The Hunger" overall makes for an enjoyable and captivating watch.
March 1, 2017
I think this is what amateur "critics" always say, so I'm going to say it... people who don't like this movie don't understand it. You also cannot judge it fairly out of the context of time in which it was made; it is unfair to compare the movie of then to a movie of now other than at the core - plot, acting, etc. In those terms, it's a good movie - nothing revelatory about the plot, but it does succeed in creating interesting characters that you care about. It's very sad to see the Bowie character realize that what he thought was an eternal life and love is going to come to a rapid end. It's not only chic and gothic but very inline with it's period - I'm still a huge Bauhaus fan, and I think the use of the intro song with the visuals was a great idea well executed to grab the audience and set the tone of the movie. I still like watching this movie, and not because it's a cult classic - there are many cult classics that are truly so bad they are not worth watching again or more than once now - we can romanticize them better by not reliving those. The Hunger is one I will continue to watch and does not show up on movie channels or cable nearly often enough (I have not found it on my cable in decades).
December 29, 2016
I find this picture very beautiful and heavy on atmosphere. Yes, it lacks the proper storytelling, maybe, but still the main idea of this movie is in its visuals, music and nuanced performances of the great actors.
½ November 21, 2016
One full star for the brilliant soundtrack and choice of musical masterpieces that made me part of the movie, not just watching.

"Forever young.. Forever and ever" seems to be the eternal dilemma of artistic vampire movies.. and this one was beautifully made.. if horror could be seen as beautiful.

The remarkable make-up effects, given the time of the movie, are just brilliant! the aging sequence of Bowie is absolutely brilliant.

I think the rest of the story, away from the three main characters, were made as slab to keep you focused on the real agonizing story of loneliness, eternal boredom, and selfishness.. All carried out in the most classy and scary performance by Deneuve; as beautiful, cold, passionate, and heartless as a vampire would be, all at the same time.

Despite the flaws, this movie is haunting!
November 21, 2016
Visually stimulating
November 19, 2016
needed more david bowie
August 5, 2016
It was doing fine up to its sudden drop-the-ball endings that cut into the development of the second act.
July 19, 2016
I love to look at 1983's "The Hunger" much more than I like to experience it as a film. It's alarmingly stylized - almost fetishistic in its vogue veneer - and it's enormously effective aesthetically, strikingly mixing goth punk and lavishly produced soft core. It takes cues from Josef von Sternberg's infamously overproduced 1934 masterwork "The Scarlet Empress," and reminds one, stylistically that is, of the hairless carnality of Madonna's "Erotica" and the cobalt coldness of David Lynch's nightmarish "Inland Empire," both to come later. I instantaneously take a liking to films akin to "The Hunger," which are garishly materialistic and titillatingly pleasing to the eye. But in viewing did I find myself becoming increasingly detached from the fervor that once held me so close to it - while it's sensorily soigné, it has trouble translating itself into something cinematic rather than fashion magazine oriented in breadth.
But its style - oh god, its style - is so meticulous and so autoerotic that "The Hunger's" floundering in storytelling, not to mention its unevenness in tone, are forgiven; there is nothing, and there will probably never be nothing, quite like it. The directorial debut of Tony Scott, the brother of Ridley and the helmer of such seminal blockbusters as "Top Gun," "True Romance," and "Crimson Tide," his having to do with "The Hunger," which is insanely flashy in comparison to his mostly crowd-pleasing body of work, makes as little sense as it does perfect sense. A filmmaker so willing to go overboard in their artistic inhibitions is oftentimes better suited for bombastic pieces that require a daring backer to really work.
And daring with "The Hunger" Scott is: when most directors would be hesitant to accommodate their creative extravagancies within the confines of a single film, Scott goes into overdrive, ensuring that the movie be a portfolio comprised of his most provocative imagery. Since the screenplay isn't his - it is, rather, the work of Ivan Davis and Michael Thomas, adapted from the novel of the same name by Whitley Strieber - we can conclude that his treatment of the material is shamelessly exceptional. If only the substance could live up to the style that drowns it out.
Not that the substance is anything worth wanting more of; since "The Hunger" is a vampire movie with more in common with kinky sadomasochism than predictable cinematic horror, expected is fantasticalness that never quite sells. The movie, after all, concerns the exploits of Miriam and John Blaylock (Catherine Deneuve and David Bowie), lovers (and centuries old vampires) who have enjoyed each other's presence since the eighteenth century.
The alpha of the relationship is Miriam, whom is ancient and has, throughout her existence, cycled through the same mission of finding, and then turning, potential mates, basking in their company until time runs out. Time runs out because Miriam, despite promising her string of companions that immortality will become them, cannot actually give a human everlasting life. Her blood can allow them to live youthfully for a few centuries, but there comes a point in which their biological clock practically collapses. Suddenly, and without warning, do they find themselves withering away into dusty carcasses. Trouble is, they remain conscious, even after they resemble one of the fiends of "Zombi 2."
In "The Hunger," we're witness to the rebirthing of the succession: minutes into it does John begin to notice that he's aging at a terrifying rate. Unaware that he's merely meeting the same fate as Miriam's collection of lovers, he desperately runs to Dr. Sarah Roberts (Susan Sarandon), a gerontologist on the verge of a breakthrough in her ability to manipulate the speed of one's biological clock, for help. But nothing, it seems, can stop John from succumbing to an eternal, living death. Fortunately, the attention brought onto Sarah also attracts Miriam, who is, of course, looking for a partner to take John's place.
I suppose the storyline of "The Hunger" sounds compelling in writing, as if it's a weird combination of old-fashioned melodrama with fetching dashes of vampirism and sexual fluidity to invigorate it. But instead of exploiting the operatic possibility of the source material, Davis and Thomas keep everything moving at a snail's pace, which is so languid and so slow that any sort of machination that makes its way onto the scene seems far-reaching. That's more likely the result of the heavy imbalance between style and substance, but vampire movies are never that much fun to begin with, anyway - they seem to consistently smother glamorization with unbecoming violence. And so "The Hunger," which is imminently too fanciful to ever really work as much more than an experiment in style, never presents itself besides a film that's a hell of a lot of fun to look at. But there is a charged sex scene between Deneuve and Sarandon, too, and that's perhaps even worth the rental in itself.
As I live in a cynical day and age where emotional attachment seems to be the very thing that propels a film to classic status, it's intoxicating to watch a movie with the emptiness of a one night stand; "The Hunger" is trivial and vain and maniacal and strange, but I'll be damned if I find a project as spectacular on the eyes.
July 9, 2016
Pure style with outstanding visuals and loads of atmosphere even though the story is kind of all over the place and the ending makes no sense, but hey, it looks phenomenal right?
July 6, 2016
Despite some goofy moments, a pretty cool movie!
June 5, 2016
Visually exciting; very 80s. Catherine and Susan 000 la la!
April 23, 2016
Definitely not what I expected for a Bowie-vampire movie, but that's not necessarily a bad thing. I would think you would like this if you like stylized avant garde movies from the 80's. I do wish they dug deeper into the science aspect of the movie.

On a side note-awesome cameo by Bauhaus in the opening. More than a few audience members (including myself) were singing 'Bela Lugosi's Dead' along with the movie.
February 29, 2016
Slow and far too artsy.
½ February 4, 2016
A delicious vampire film.
January 24, 2016
This is Vampire tale the first film from Tony Scott, and i had seen it ages ago, but didn't remember it. The movie is very much of its era, the early 80's and you can see that Scott has a music video/commercial background, the film is very stylish, but lacking in substance. What is does have going for it is the cast including David Bowie, Susan Sarandon and Catherine Deneuve...and of course the infamous love scene between Sarandon and Deneuve. Worth checking out for fans of the actors or the genre.
½ January 18, 2016
Stinker of a film. What a shame too, it could have been great. Instead they squander the talent at hand for cheesy lesbian sex scenes and a focus on monkeys killing each other. A lot of pretend 80s artsy bullshit, fog and doves and flowing curtains and slow-mo style.
½ January 17, 2016
This movie is slow and atmospheric.
I give it an extra star because I like vampire movies, David Bowie and Bauhaus. The opening scene with Peter Murphy singing "Bela Lugosi's Dead" is worth the price of admission
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