The Addiction

This movie was even scarier for me since I spent 2/3 of my life in New York City and all the settings were in my family's neighborhood!

The acting was first rate, as was the storyline and cinematography, but all the philosophical dissertations annoyed the HELL out of me because it reminded me of some of the intellectual snobs I went to school with who had lower IQ's than my cat.

Upon reading the previous review, it just occurred to me that all the snobbery made perfect sense.

The character was probably in shock for several weeks. In HER mind, a vampire wouldn't resist his or her impulses they would just become feral. As such, to her, this constant internal dialogue of trying to figure out whether or not her addictions are psychological or supernatural somehow proves her normalcy (at least in her universe).

Christopher Walken was GENIUS and so convincing that I never EVER want to meet him in person! His explanation of his adaptation to his vampirism made it seem so normal (it REALLY felt like he was giving the audience a confession under the guise of acting) that you got the sense that he WASN'T acting!

I have to say that the graduation scene is one of the single most disturbing things that I have ever seen in my life! I saw it coming, but never really acknowledged before seeing this, that horror movies are realistic because all the writers/directors have to do is open up the local newspaper to see what a real monster is!

It's not about vampires, it is about resistance, or lack of it. About what may be right around the corner, about discipline, or about lack of discipline. About being in the wrong place at the wrong time. It can happen to anybody, and it happens to everybody. It's a pyramid scheme.

Beautiful black and white composition by Abel Ferrara tied tightly in a wonderfully creative Joe Delia score. Casting the usual Ferrara/indie suspects: Paul Calderone, Edie Falco, Kathryn Erbe, Lili Taylor, Annabella Sciorra. The theme of the movie presents 4 new questions for every one it answers. Do we have a choice? Can we resist? And just when we think we have it all figured out, Christopher Walken has to show up and throw an entirely new lilt on things.

Such is life.

The Addiction is one of the more thoughtful films about vampirism available today.

While the film is incredibly thoughtful, with loads of subtext at every corner, it borders, and sometimes crosses into, pretention. There are times where the narration is attempting to add subtext, but it's so heavy-handed that the film loses sight of the fact it's a horror film. I'd argue it's thought piece first and horror film second, honestly. Maybe that makes it even more frightening.

Christopher Walken is wonderful, and Lili Taylor does a fine job, as well. The choice to shoot the film in black and white was a great idea, as well. There's a real focus placed on the ideas the film is pursuing.

Even though the subject of the horror in this film are vampires, the movie is truly describing humanity.

In the sister film to the Funeral philosophy student Kathleen Conklin is dragged into an alley and bitten by Casanova and left to bleed. Despite hospital care she begins to change and have strange desires. With her desires controlling her turns to Peina for help.

A sister film in that both film share a crew, a writer and some of the cast. The genres are very different but the themes are the same – religion and redemption. The vampire thing isn't played like it usually is – stakes through the heart etc, these are mentioned but not laboured. Instead the story is about the origins of sin and the extent it controls us and how we can be redeemed. It cleverly uses the vampire myth as an allegory for wider human evil – `We are not sinners because we sin, we sin because we are sinners. We aren't evil because we do evil, we do evil because we are evil'.

At times it gets a little heavy – the ending in particular takes some interpretation and the message can be easily misunderstood. However ignoring the message this also stands up as a great vampire film – the party which turns into a massacre is as good (if not better) then the nightclub opening of Blade, and much more meaningful to boot. Ferrara is a master director who has never followed the money to blockbusters – here he is in total control of his themes and the film rarely loses focus. His clever use of music is also good – a blend of all styles. The theme song feels like it's going to be a 1980's romantic comedy, but this blends straight into hip-hop and others to create a mix that never feels strange – in fact a baseline seems to run under the whole film like a heartbeat.

Lili Taylor is on top form as Conklin and commands attention the whole time. Walken and Sciorra are both good but have less screen time than in the Funeral, however here, as there, they have key lines of dialogue that carry tremendous weight. Sopranos co-stars Falco and Imperioli are both good but are no more than bit players. The real stars are Ferrara and writer Nicolas St John, who wrote this and The Funeral after the death of his son.

Overall this is a great film that serves up more for thought than for action. To this end it won't please those expecting a Blade style vampire film but to fans of Ferrara used to his themes this will be very enjoyable.

I haven't seen THE ADDICTION in ten years, but I do recommend it from what I remember. And the list of attractive concepts are, envelope please: Lili Taylor, Christopher Walken, Anabella Sciorra, black and white meta-fictional film, and of course vampires galore! Abel Ferrara has directed other well known movies such as Bad Lieutenant, California, and the Funeral. Of these movies, I mildly recommend the first two but definitely not the third. The Funeral is plain boring and dreary, while the other two entertain by showing the gritty side of human nature.

Caution, if you're the type of vampire fan who must have each actor decked out in fangs and yellow contacts, then steer clear of this movie, since it's really questionable whether the characters in THE ADDICTION are actually vampires or are just plain junkies in nice clothes.

Lastly, there is a very complex philosophical feel to THE ADDICTION, as Lili Taylor muses about life and death in deep conversations in different venues around New York City: a college book store, movie theater, etc. I recommend any philosopher out there to grab THE ADDICTION off the shelves as soon as possible.

Speaking of the mid-90's, that short-lived era was a golden age for indie actors like Lili Taylor and Parker Posey. Taylor got a taste of vampire-hood early on in this movie, and fortunately for us, and for the committee, Posey got her fangs in Blade 3, which I was very happy to see happen. I mean, come on, all those party girls are really vampires at heart.

JY

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