The Addiction Reviews

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May 1, 2019
Ferrara looks at the deeper truths of what it is to be right or wrong. How do we live with ourselves if we choose to embrace the darker side of our nature? Better yet, can we?
June 18, 2018
A chilling, atmospheric, multi-layered movie that is full of philosophical questions and social commentary.
October 20, 2009
One of Ferrara's most idiosyncratic yet popular slices of misanthropy.
October 20, 2009
It's got a remarkable visual texture, integrity to burn, and almost -- but not quite -- enough intelligence to justify its lofty ambitions.
October 20, 2009
No matter, without exactly transcending the awful material, Ferrara puts it across with astonishing poetry and conviction.
November 15, 2007
Top Critic
June 24, 2006
Scary, funny, magnificently risible, this could be the most pretentious B-movie ever -- and I mean that as a compliment.
May 26, 2006
What we get is a slight, but entertaining movie, that's (dare I say it?) unintentionally funny at times.
June 20, 2005
Reflecting Ferrara's obsession with guilt and redemption, the film acknowledges the capacity for evil, urging viewers to take responsibility for their actions, or else there won't be a way to arrest evil's diffusion from one generation to the next.
July 8, 2004
The allegory wears thin fast, and we're just left with artifice.
May 19, 2004
Given all the talent involved, this should have been much more compelling.
February 29, 2004
May 20, 2003
Love him or hate him, Mr. Ferrara is one of the few directors who can turn genre movies into something deeper.
May 20, 2003
Christopher Walken, who always looks like one of the living dead, proves that he hasn't exhausted his capacity to make your skin crawl.
May 16, 2003
January 10, 2003
Ferrara's film both impresses and terrifies sufficiently for most of its duration.
August 13, 2002
Captain! The Pretense-O-Meter's gone off the scale!
July 26, 2002
A strange and diverting take on the old vampire tale.
July 26, 2002
May 12, 2001
Abel Ferrara, working from a rabidly ambitious script by Nicholas St. John, gives the genre a provocative and perversely funny snap that Anne Rice might envy.
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