Underrated low-budget sci-fi film with some intriguing ideas. Clearly influenced by Blade Runner and other post-apoc futuristic films, the story of a man looking for a replacement for his short-circuited robot dream wife gives peeps into a 2017 that may've actually come true. Men and women negotiating sexual encounters with contracts at the Glu Glu Club, a man so accustomed to a subservient robot wife that he's not sure what to make of a real thinking woman, etc. The action sequences are pretty contrived (the "river crossing" being a catastrophe of unbelievable plot armor), the technology sort of goofy. But if you can sit through an overly effected 80s SF potboiler, there's a bit to think about underneath. There's a reason it's a minor cult favorite.

The gritty and disturbing source material of this, one of the first "profiler" dramatizations based on Thomas Harris' book Red Dragon, is superbly counterbalanced by a strong and stylish visual style chosen by Michael Mann. Both make the film both compelling and distanced. The pop score sometimes works against it (it was marketed with Mann's creation of Miami Vice leveraged heavily), but it still delivers a big punch many many years after it's been eclipsed by Silence of the Lambs (a completely different type of film) and other works. Brian Cox as Lekter remains a high point ... he's chilling and affable all at once, far scarier for my money than Anthony Hopkins' turn in the role.

Underrated masterpiece. It slows a bit at the end, but that's because the story morphs into a personal nightmare for our lead character. It's similar to other Cohen features in which the hero is a flawed individual who has personal problems to contend with. In this case, our hero is a devout Catholic, separate from but refusing to divorce his wife while he shacks up with another, younger woman. That the random mass murderers claim "God told me to" is particularly disturbing to him personally. It's well acted by all involved, and shot documentary-style on real locations. Should be considered alongside other classics of the era e.g. Shivers, The Brood, The Wicker Man, The Texas Chainsaw Massacre, Don't Look Now. Salem's Lot.

Outstanding in all ways. The year the everyone with no brains was heralding Avatar as great sci-fi, this indie flick slipped in and should've nabbed more awards. There is no justic. MOON is must-see.

This is a horror movie. Horror movies, good ones, can be quite disturbing. "Disturbing" as opposed to grotesque, shocking, an assault on the senses. If you don't want to see a horror film that has some thought put into it, go directly to Disney, do not pass GO, do not collect $200. Deadgirl is such a film. It's been branded as misogynistic, obscene, awful. Those reviewers/viewers are confusing the film for the ideas that the film is making the audience confront. The aberrant behavior, and the questions they raise, are there to consider. I found some of the attitudes displayed by JT and the other boys to be very realistic, no matter how badly woke viewers want to deny their existence. I've heard worse from men you'd consider otherwise healthy and ethical. Really. As a small, simple "zombie" flick, it turns the genre upside down. It presents a scenario of young men with raging hormones finding a zombified nude woman in an abandoned hospital, and the opportunity it presents. The ensuing plotline, instead of a fastpaced surprise-fest, is a slow burn of unease and disgust that is bound to disturb most viewers. In that sense, I found the film quite original, and very well done. It's even tasteful in most spots, despite what's being portrayed is explicit. If you like your horror to be original and even thought provoking, Deadgirl is not to be missed.