Jon Peters' first production as he transformed himself (with girlfriend Barbra Streisand's help) from hairdresser to movie producer, the movie is a gem of Seventies style at it's finest. The clothes, the hair, makeup, music, attitude, interiors and locations ride the crest of the high-style wave that flooded the world through the Eighties. Combining the improbable worlds of violence and fashion, with a story that centers on a famous photographer (Dunaway) and her ability to *see* her friends and colleagues being stalked and murdered, *Eyes* has moments of serious suspense, but that's hardly the reason to see this movie. Utilizing the actual photography of fashion god Helmut Newton, the film maker has exquisitely captured the 1978 New York fashion and disco scene in a way that none of the recent looks at the Seventies has been able to, but then, again, this movie was *made* in 1978, not 27 years later. The scenes of photo shoots are particularly fun to watch, with one scene portraying a burning car crash in Columbus Circle in which the models, clad in garter belts and fur coats cat-fight before the camera. The ingenuous use of *real* models add the precise amount of vacuity necessary to make the surreal shot work. Another photo shoot involves a model dead from a gunshot to his heart lying in a pool surrounded by exotically dressed disco-dancing models and a throbbing disco beat. The plot is secondary to style in this movie, and style is the only reason this movie should be remembered. Favorite moment: Darlanne Fluegel as the model Lulu haplessly trying to explain to the press *why* violence is important in fashion photos.
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style-231 January 2005
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Eyes of Laura Mars -- Horror/Thriller -- 1978
This is an old supernatural thriller of sorts from way back in the 70s'. It revolves around a female fashion/glamour photographer who lives to make crude photographic nudie art that sepcializes in scenes of violence. Some people find her "art" to be rather disturbing and horribly offensive. So someone decides to go around killing her friends and acquaintances. To make matters worse, Laura Mars can see the murders happening--through her own eyes!
Here's the breakdown:
The Good:
--Clever story, and fairly original. Adds a nice twist to the usual cops-hunting-murderer story.
--Good acting all around. Brad Dourif is creepy, Tommy Lee Jones is cool, Raul Julia is... kinda weird...
--Good atmosphere and cinematography all around, with some strong direction. The tense moments are generally pretty well done.
--Some nice, genuine, surprises throughout the film. It does manage to successfully keep you guessing just who the killer is.
Didn't Hurt It, Didn't Help:
--Contains a decent amount of fairly well-known actors including Faye Dunaway, Tommy Lee Jones, Brad Dourif (better known as Chucky from the Child's Play series), Raul Julia, and Rene Auberjonois (famous for his Star Trek: Deep Space Nine role). It was also co-written by John "Halloween" Carpenter.
--Quite a bit of nudity. She is taking pictures of naked "victims of violence" after all.
--Somewhat grotesque 70's music permeates here and there.
--Some decent character development and depth.
The Bad:
--Not quite as scary or riveting as I'm sure it was back in '78. This review being written in 2006.
--Some "logic" problems every now and then. For instance, when Laura Mars sees someone being murdered, that's all she sees--yet there are times when she seems to be able to move around, once even driving a car, with more competence than one would expect from someone who just instantly "went blind."
--Occasional dips in the quality of the atmosphere and writing.
The Ugly:
--The make-up used on the models in the 70's. Holy crap!
Memorable Scene:
--Nice climax to the film.
Fun Fact:
--The photographic art in the film is actually from professional "glamour" photographer Helmut Newton.
Acting: 8/10 , Story: 8/10 , Atmosphere: 7/10 , Cinematography: 8/10 , Character Development: 7/10 , Special Effects/Make-up: 7/10 , Dialog: 7/10 , Music: 6/10 , Direction: 9/10
Nudity/Sexuality: 5/10 , Violence: 6/10 , Gore: 3/10
Cheesiness: 2/10 , Crappiness: 0/10
Overall: 7/10
Finally, I would recommend this to hardcore horror/thriller fans or film buffs. John Carpenter or Tommy Lee Jones fans will likely enjoy it. The movie is not without its problems, small though they are, but may not be enjoyed all that well by many modern viewers.
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classicsoncall20 October 2016The Seventies seemed to be a time for film makers to push the envelope by shocking viewers and challenging mainstream perceptions with stylized treatments of sex and violence. Other movies that come to mind are 1971's "Klute" and 1977's "Looking for Mr. Goodbar". I would even throw 1970's "Joe' into that mix with it's take on free love and nudity. What's kind of funny as I watched the picture today on cable, was that the exposed breasts of women in Laura Mars' photos were uncensored, but the ones on the live models were. What's the point of that?
There's that other element that gets some treatment from the newspaper reporter in the story speculating on whether the gallery photo exhibit has a desensitizing effect on society, and might possibly be the cause of some deranged killer who gets inspired by the titillation of sex and violence together. There are those, primarily in the position of making these pictures, that think that's all hogwash, but why wouldn't a rational person make the same observation. Sometimes bad ideas get their start in a subliminal way.
Anyway, this was a fair enough thriller. Trying to figure out the murderer in a murder mystery can often be a challenging exercise, but this film tried too hard to pin the crimes on Brad Dourif's character, so I had him dismissed right off. That John Neville (Tommy Lee Jones) turned out to be the killer in Laura's visions wasn't a complete surprise, though the picture could have better explored at which point in his life Neville went completely off the rails. The confrontational scene in which Laura realizes in horror that John is a madman was handled well, I was patiently waiting for her to pull the trigger and she didn't let me down. Good job, Laura. -
bd119-214 January 2003This 1978 chiller directed by Irvin Kerschner (RoboCop 2) and based on a story by John Carpenter, has Faye Dunaway as a fashion photographer who suddenly discovers that she has the ability to "see" through the eyes of a serial killer. All her premonitions of the murders are very accurate, and the victims are all people she knows. Soon it becomes apparent the killer is coming after her. Tommy Lee Jones is great as the police lieutenant/love interest (back when his face wasn't pockmarked with age), and the supporting cast (Raul Julia, Brad Dourif) is excellent. The movie's depictions of the murders were quite shocking for it's day, and it manages to keep us scared and in suspense throughout, though some of the scenes border on grotesque. Direction by Kirschner is tight, music is suitably eery, and the performances are overall impressive. A winner
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ODDBear13 July 2005I saw Eyes of Laura Mars a few years ago and just watched it again very recently. I remembered it as being fantastic but upon watching it again I was a little disappointed. It's a solid film, by no means bad, it's just nothing all that special.
For the past 3 years or so I've been totally hooked on giallo's and this film plays in a lot of ways like an homage to those Italian thrillers. Touches here and there remind you of Dario Argento (obsessive mirror imagery, Laura's visions etc.), Lucio Fulci, Sergio Martino and Mario Bava, such as the model settings and murder scenarios. While this film scores heavy on style (and music, though I find this soundtrack a bit hokey, but generally OK) it just lacks the magic that the best giallo's seem to have. The plot, while intriguing enough, is not nearly played out to it's full potential. There are gripping scenes here to be sure, but the film drags quite a bit and nothing virtually happens for a long period of time.
For seasoned giallo fans, we know the killer is most definitely gonna be the most unlikely one, and for a lack of suspects, I didn't find it hard to figure out who was guilty, but there's pretty much no logic to support it (but that's a giallo trademark, a pro rather than a con actually). For me, the problem is that this film doesn't have the same trashy feel and atmosphere as the best Italian thrillers it seems to be imitating. In a lot of ways I like this film, certain scenes are truly gripping but there's simply something lacking. Being a huge fan of John Carpenter, I can't help but think what he could have done had he directed this. He came up with the story and shares the credits as the writer of the screenplay and what's more, he loves the Italian giallo films as well. His own homage to the genre; Someone's Watching Me, the little known TV film was terrific and you could see that he definitely had the feel for the genre and could easily translate it to American settings. I don't feel that Kershner, as good a director as he is, has the same love for the genre as Carpenter.
I recommend watching it, it scores on a number of levels. -
SnoopyStyle3 December 2017Laura Mars (Faye Dunaway) is a celebrated fashion photographer. She is haunted by visions from a killer's eyesight. At her gala, she encounters police detective John Neville (Tommy Lee Jones) who hates the photos of violence against semi-nude women without knowing it's her. Those around her are killed and Neville investigates. Her pictures seem to mimic real crime scenes. Tommy Ludlow (Brad Dourif) is her driver. Donald Phelps (René Auberjonois) is her manager. Michael Reisler (Raul Julia) is her possessive ex-husband.
The killer's vision needs better consistency. It's mostly first person POV except sometimes it goes up to the murder weapon. It becomes more traditional but it needs to stay with the first person POV. Otherwise, it's a nice premise and the visual mostly works. It has blood and gore but like the photos, they are too stagey. The first thing that caught my eye is the writing credit for John Carpenter. This is pre-Halloween by a couple of months. If it somehow got released after Halloween, I'm sure they would have promoted Carpenter's script to death and it would be an even bigger hit. The great cast is doing good work. There is a twist that seems more for twist's sake. This is a nice middling mystery thriller although the pacing is not always that thrilling. -
It was nice to see some old classic work in the late 70's from John Carpenter before his big break of stardom on "Halloween". With this work which John wrote "Eyes of Laura Mars" is one filled suspense thriller of drama and violence that keeps a viewer on the edge of their seat and it twist with a surprise. Set in New York City Faye Dunaway is an art fashion model photographer who starts to have visions of killings that are being done by a serial killer just like a psychic she sees it before it actually happens. One by one the clues lead closer to her. Look for Brad Dourif who gives a creep like turn as a drifter and my man Tommy Lee Jones is in top form as detective John Neville. Anyway aside from the blood, drama, suspense and sex in the end this picture takes a twist you really don't expect who the real killer is it will shock!
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gbill-7487712 October 2023A 1970's supernatural thriller in which most of the positives for me had to do with its setting and time period. The on-location footage in the dirty streets of New York, the peek behind the scenes at fashion shows, and all the hair on these actors held some appeal. Tommy Lee Jones and Faye Dunaway are both reasonably good in their roles, and filling in a solid supporting cast are Brad Dourif and Raul Julia. It was fun hearing "Boogie Nights" by Heatwave and "(Shake Shake Shake) Shake Your Booty by KC and the Sunshine Band, though I didn't think the track from Barbra Streisand fit in as well.
The premise of a woman who suddenly develops the ability to see through the eyes of a serial killer was a pretty good one, and it was amusing guessing what was going, but the film got weaker as it went, leading to a disappointing payoff. The murder mystery is rather tepid (and a far cry from giallo if you ask me), and then a howlingly cheesy romance develops between the two leads. There is never a hint about what might be the cause of the clairvoyant ability, and the big twist doesn't jive very well with the actions of the characters beforehand. It's not terrible as a little window into the 70's, but it's not very good either. -
sreed9934213 October 2005"Eyes of Laura Mars" is a fun late-70s period piece. Lots of disco-era clothing, glossy lipliner and feathered hair. It's famous primarily for its title song, "Prisoner," which became a hit single for Barbra Streisand.
Plotwise, it's pretty severely lacking. The murders keep things moving, but the movie fails to address several key questions -- WHY does Laura Mars have her visions? How does it happen? Raul Julia is wasted on a minor role, and performances by Faye Dunaway and Tommy Lee Jones wouldn't win any Oscars.
But all in all, it's worth a rental. -
seymourblack-12 December 2015New York City provides the backdrop for this 1970s thriller in which gruesome murders, psychic visions and offbeat characters feature strongly. The motivations of a serial killer whose victims are all associated with one of the city's top fashion photographers, are a complete mystery and the plot which produces plenty of surprises, suspects and suspense (as well as some supernatural elements), builds up to a conclusion that's suitably twisted.
Laura Mars (Faye Dunaway) is the trendy photographer whose images regularly juxtapose sexual and violent content in a way that's edgy, provocative and attention-grabbing. Her innovative work has made her both highly successful and controversial but when she starts to experience psychic visions of murders which she can "see" through the eyes of the killer, she understandably becomes very distressed. When it also becomes apparent that the victims are all associated with Laura and the detective who's assigned to the case notices strong similarities between her photographs and the scenes of some unsolved murders, he naturally starts to suspect that she may be criminally involved. Laura's anxiety then increases when she starts to sense that someone is stalking her and thinks that she may be the killer's real target.
Detective Lieutenant John Neville (Tommy Lee Jones) has an easy-going manner and tries to establish who the killer may be by speculating on the types of people who may have been offended by Laura's work. As the couple continue to discuss various issues relating to the case, they fall in love and Neville gives her a handgun and arranges for her to have round-the-clock protection. Following a chase which culminates in the police shooting dead one of Laura's colleagues, it appears that the culprit has finally been caught but soon after, it becomes clear that this isn't the case when Laura finds herself confronted by the real killer in circumstances that leave her shocked and traumatised.
Faye Dunaway does a great job of portraying Laura's fear, desperation and sophistication and Tommy Lee Jones is absolutely superb in his role. Rene Auberjonois as Laura's agent, Brad Dourif, as her chauffeur and Raul Julia as her husband are also all excellent in their important supporting roles.
With its strong focus on fashion and a soundtrack which features lots of disco music, this is very much a movie of its time. The violence is often horrific with the murder victims being stabbed in the eyes by an ice-pick and the photo-shoots are deliberately exploitative, decadent and misogynistic. Overall, however, this is a slick, sleazy and stylish thriller that's consistently involving but let down to some extent by its conclusion which leaves some things unexplained -
ptb-831 January 2006Please let this be remade as the ZOOLANDER sequel with Derek in the Faye Dunaway role and Faye returning as the killer....please please please. EYES OF LAURA MARS as we all know is a murder in furs drama with Joan Crawford...er Faye Dunaway dropping her NETWORK Oscar long enough to recommence more schlock, but this time with a camera. Rather like the Brit horror PEEPING TOM where the killer films his victims, she instead, SIXTH SENSE-less style sees the point of view death through eeeeeeeeek! the killer's own eyes.... basically "she sees dead models". Sadly, Columbia saw dead ticket sales. EYES OF LAURA MARS is a so bad it's good drama like WHITE MISCHIEF dripping this time with blood as swell as chic 70s glam. See! squabbling models ripping furs off each other at a car accident, blazing dashboards and flying pearls, stilettos and painted claws.... fantastic and all played for real d-r-a-m-a when suddenly (zing!-zing! Psycho music) and Faye as Laura is distracted from her lens to see ....eeeeek a-nother killing! Get friends over, get tipsy and add your own dialog!
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Hermit C-21 July 1999This movie was around for twenty years before I saw it. I recall it as not having the best of reputations. But I found it to be suspenseful and it could be considered a forerunner of today's erotic thrillers.
Faye Dunaway is Laura Mars, a fashion/glamour photographer whose work is controversial in that some say it glorifies both sex and violence towards women. (Sounds like a pretty contemporary theme, doesn't it?) She becomes troubled by frightening visions she has of killers-eye views of murders. When a killing she has just "seen" turns out to have actually happened nearby she tells the police. She then finds out that a detective (Tommy Lee Jones) has already been investigating some cases where murder scenes closely resembled her photos.
Dunaway is always consistent in delivering good performances and this one is no exception. It was refreshing not to see Jones in his "Mr. Intensity" character he's played so often since 'The Fugitive.' Although some will doubtless find flaws to point up here and there, I found the film to be very enjoyable. Brad Dourif, Rene Aberjonois and Raul Julia also star. Irvin Kershner's direction is stylish and John Carpenter is responsible for the story and co-wrote the script. -
lindsaykeaton14 May 2022Eyes of Laura Mars makes for a nice meeting point between glossy studio thriller and sleazy giallo inspired slasher. An all-star cast and a theme song by Barbra Streisand of all people makes the whole experience a once-in-a-lifetime experience.
Faye Dunaway plays the title role of a high end fashion photographer whose models are being knocked off one by one by a mysterious killer. Even stranger, she's able to see these killings while they're happening, temporarily taking on the point of view of the mad slasher.
Tommy Lee Jones plays a detective and potential love interest for Dunaway in this odd, but captivating movie. -
WisdomsHammer28 September 2013I understand that this was filmed and set in the 70s in New York and I think it's meant to mirror some of the avant garde style of that time and locale, but I couldn't stand Faye's acting style in this film. Her character is supposed to be a strong, successful, visionary/controversial photographer. She seemed to start many scenes playing just that, but would then quickly fall to pieces and appear to not know where she was, what she was doing, or how to answer a simple question. This happens over and over. I felt like I was watching over- acting from the 40s.
The rest of the cast saved it for me. Especially Brad Dourif and Tommy Lee Jones.
I liked the general story and premise, but even at only 104 minutes, it felt drawn-out.
A lot of people seem to think the ending was predictable. It caught me pleasantly by surprise!
I doubt as many people will be as put off as I was by Faye's acting in this particular film, so I would recommend this with my own reservations. I love supernatural movies and whodunits, and this was an interesting combination of both. It is definitely dated, though. Good luck. -
dougdoepke30 September 2013The premise presents all sorts of creepy potential-viewing murders through the eyes of the serial killer committing them. In the movie, these visions can strike Laura Mars at the moment they happen regardless of what she happens to be doing. Moreover, the victims are all members of her modeling staff. It's a wonder then that she's not a nervous wreck, an understandable consequence the film too typically ignores.
This psychic element makes a heckuva of a movie premise, but its effectiveness also depends on how the story around it is developed. And here I can only say the narrative results are little short of a mess. It's like the five or six screenwriters simply failed to communicate with one another, resulting in a near incoherent narrative- for example, what is the killer's motivation, what is causing Laura's psychic visions, what relevance does Raul Julia's dangling presence have to the plot, etc. None of these are answered, or unless I missed something, even hinted at. Instead the narrative stumbles along in fits and jerks without much relation to what's gone before. Then there's the totally unbelievable ending that by itself is enough to sink the film.
No need to go on since other negative aspects are discussed effectively by other reviewers. Instead, let me suggest a direction in which the story could have gone. For example, establish early on some psychic connection between Laura and Neville before they ever meet. Perhaps, she sees his compelling gaze in a photograph and is strangely transfixed by it. Thus a connection is established. This opens also the possibility that the murders are fated to happen, and both characters act not as independent agents, but are in fate's malevolent grip. In such a manner, the psychic world would be expanded and not drowned in a clutter of confusion.
Anyway, the premise certainly deserves better treatment than it got from a glut of writers. Too bad. -
BA_Harrison24 January 2022If Eyes of Laura Mars was Italian it would be a giallo. Set in the fashion world, it features a gloved killer using an ice pick to bump off the friends and colleagues of controversial photographer Laura Mars (Faye Dunaway), who can 'see' the murders in her mind as they happen. Cop John Neville (Tommy Lee Jones) tries to catch the killer, falling in love with Laura in the process.
Of course, if the film was Italian, it would probably be a lot more stylish, Irvin Kershner's direction lacking the visual flair of many of his Euro-counterparts, the murders in particular being devoid of panache (and gore!). And the soundtrack would be less disco and more jazz. But that's not to say that the film isn't worth a watch: from an original script by John Carpenter, just before his major hit Halloween, the film benefits from engaging turns from a quality cast that also includes Brad Dourif as ex-con Tommy, Raul Julia as Laura's waste-of-space ex-husband Michael, and Rene Auberjonois as Laura's agent Donald, all of whom help make this a fun little murder mystery, even if the mystery isn't that hard to solve...
Dourif is obviously a red-herring, too shifty to be the killer; ditto for Julia. Auberjonois is stabbed to death in a hilarious case of mistaken identity, so that rules him out. That leaves one major character-Tommy Lee Jones's cop-to be the ice-pick killer, which would be ridiculous. But hey, this is a giallo, and ridiculous is the name of the game. In the final act, Lt. Neville reveals himself to be schizophrenic, part good guy, part looney tunes psycho angry about Laura's controversial work. Smashing his way into Laura's very brown apartment, the good part of Neville's fractured psyche begs for Laura to kill him...
6.5/10, rounded up to 7 for Jones's monobrow and Auberjonois' hair. -
The Eyes of Laura Mars (1978)
A thriller with a twist (of course) but depending too much on the first impression of that twist, and not developing it as we go. What always pains me about thrillers like this is they assume we are happy to watch and have things unfold for us, without our involvement. Not that we aren't shocked by blood and death, but we are not given clues or hints, even false hints, to make us start to figure out what is going on and who did what. Instead, we just watch another and another of these quirky awful murders. And watching isn't enough. This isn't a terrible movie, but it has the aura of something more original and special. Expect a common murder spree with a romance thrown in and you'll enjoy it.
There might be a hidden (and unintended) metaphor in the film about us as consumers watching the unapproachable supermodels who are the underlying landscape of the film. Echoes of Jack the Ripper are faint and cheap. And women, over and over again (as with lots of 1970s movies) are just eye candy, both as actresses and as models for the photography. Throw in glamorized murder, and you have what could have been a disturbing and brilliant film. But far from it.
Beauty is what it is, but Faye Dunaway struts as if she's the creme de la creme, and in fact her stiff haughtiness bleeds into her part. Some depth and surprise in her performance would have helped a lot. It's fun seeing Tommy Lee Jones in a young, hunky role, and he's pretty good, if not loosened up and amazing as he would later be.
A lot of this might be traced to the director, who, like it or not, is responsible for pulling it all together and getting the most out of everyone. Irvin Kerschner has a short resume and no particular style. The trick of this film, the photographer's visions, are scary and a little inventive, but their effect is dampened by effects. That is, the visual dimming and blurring is what it is, easily digested, and the events don't add up to anything more than just a quick murder each time. No fun at all, and slightly sad.
The photography itself? It looks like slick Helmut Newton (Newton was slick of course, but with a wiry edge to his setups) and it makes me think of Ellen Von Untwerth, who made shocking scenes pretty in the same kind of way. Ah, I read now the photos were by Newton with the help of Rebecca Blake, who I've never heard of. Newton was famous for his misogynist and high brow fashion work, often using nudity beyond the norm for his days (in the 1960s and 70s). Any critique of that kind of abusive photography one might read into the movie is blunted by the fact that the photographer here is a woman.
In the end, the movie survives on style, and it does have a really nice feel to it, not in how it was filmed, but in the subject matter. -
gridoon10 December 1999"Eyes of Laura Mars" is a slow, flabby thriller that could have made MUCH better use of its intriguing (if not original) initial idea. Director Kershner shows some style and flair, but this movie needs tighter storytelling. I found the script, co-written by John Carpenter, clever and quite unpredictable (unless you're trying to find the identity of the killer strictly by guessing), and there are OK performances by the entire cast, but this film is ultimately defeated by its uneven, meandering pacing.
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gavin694229 February 2016Suddenly Laura Mars (Faye Dunaway) can see through the eyes of a serial killer as he commits his crimes. She contacts the police and with the aid of a police detective (Tommy Lee Jones), tries to stop the killer. But first, they have to figure out who it is.
When you think about the great John Carpenter films, this one never seems to make the list. And in some ways that is fair, because he apparently had little to do with the final product (his script was rewritten). But it is a Carpenter film just the same, and ought to be recognized as such.
Others have noted that this is sort of an American version of the Italian giallo. I can see that, and it is this connection that really makes me wonder what was in Carpenter's script, and what was added or changed by others. Who introduced this element? The other writer was David Zelag Goodman. And Goodman is no slouch, having made "Straw Dogs" and "Logan's Run"... but was he the one influenced by the Italians? Doubtful. -
melanie-3294214 October 2021Worst acting, music, everything.
Faye Dunaway's melodramatic reactions to her visions were almost comical. The soundtrack was ridiculous.
Probably the film's only redeeming quality was the endless parade of topless women.( Great.... if you are a GUY.) A real waste of time. -
apbryant14 January 2022This film feels like it could have been so much more. With acting talent like Faye Dunaway and Tommy Lee Jones, it should have been. I think the film tries too hard to be both Hitchcock and Italian "gaillo" film in equal measure, but ends up failing at both.
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jrs-824 January 2006"Eyes of Laura Mars" is a disturbingly violent geek show of a movie. Laura is a kinky fashion photographer who starts getting visions of brutal, violent murders as they occur. So when she sees them we get to see them to through the eyes of the killer. Instead of the old Hitchcock standby of making the first murder violent and then keeping the audience on edge the rest of the film without showing much of anything, this films murders get worse and worse. It's disgusting without being the least bit stylish.
Faye Dunaway makes her first film appearance after winning the Oscar for Network here and for the life of me I cannot figure out why she would have taken the part on. Perhaps the original spec script called "Eyes" by John Carpenter was something other then this. Or, and most likely this is the case, she got a huge payday as Oscar winners do and took the money and ran. She looks great but the character is one dimensional and she gapes and gasps and cries a lot. At some point you just want someone to slug her.
The supporting cast is headed by Tommy Lee Jones as the lead detective on the murder cases. Jones is passable but his character is dumb. He makes decisions that a good detective wouldn't make. Brad Dourif began his string of eccentric characters as one of Laura's assistants. Gee do you think he will be a suspect in the murders? As far as the "mystery" goes there really isn't much of one. If you pay any attention to the film the identity of the killer is easy to figure out within the first 30 minutes of the movie. Unfortunately we then have to sit through another 60 minutes of blood, gore and violence waiting to get to its predictable conclusion. "Eyes of Laura Mars" is not a pretty film to watch. -
A surprisingly forgotten gem of a psychological thriller, Eyes of Laura Mars is a unique and sophisticated shocker that stands out from the normal variety of thrillers.
NYC fashion photographer is having visions where she sees through the eyes of the murderer that's targeting the people around her. But what will she do when she sees said murderer coming after her?
Eyes of Laura Mars was originally based upon a screenplay by master horror director John Carpenter, which isn't surprising considering just how imaginative and effectively frightening that this film comes off. Yet, Eyes' isn't just a terror film, it's also a film of intriguing mystery, sweeping romance, and well-rounded characters. All of this adds up to an enveloping story that's directed with flair and style by Irvin Kershner. The murder sequences pack plenty of tension, yet they aren't gory. The NYC filming locations are fantastic and allow for some truly breath taking cinematography. While the 70's fashions do date the film, they don't subtract from its over all impact. The soundtrack is composed of some great disco numbers, and the theme song by Barbara Streisand is stunningly good.
The cast is perhaps the best highlight of the film though. Star Faye Dunaway is excellent as always as our understandably disturbed heroine. Tommy Lee Jones is equally excellent as the police detective who falls in love with Dunaway. Rene Auberjonois is plucky as Dunaway's agent. Brad Dourif is good as the shifty-eyed driver, as is Raul Julia as Dunaway's wretched ex-husband.
Eyes of Laura Mars is on a level above the average terror film. It's not only thrilling, but strong enough to be emotionally devastating as well. Well worth finding for thriller and horror fans alike.
*** 1/2 out of **** -
jotix1007 May 2005"Eyes of Laura Mars" is a film that looks sadly passe. The film hasn't aged well. This movie heralded what fashion photography was to become a decade, or so, later. Today's world of doped up models as pop culture heroines, no pun intended, probably imitated Laura Mars, the photographer with a taste for presenting the macabre and gory in order to sell clothes. Under Irvin Kershner's direction and a screen play by John Carpenter, this film feels empty.
What makes it irrelevant is the fact we have a hint of who is the serial killer and his attraction toward Laura Mars. The clue is seen at the beginning of the film. As far as a mystery goes, there is not much suspense in the way we watch the story unfolds. In fact, knowing who the culprit is, makes no sense how easily Laura could have been eliminated. The criminal seeks to destroy all that seems to matter to Laura, not the person who is producing all the obscene and explicit pictures.
Faye Dunaway and Tommy Lee Jones worked well together. Their passion, as seen on the screen is tamed and not kinky at all. The supporting cast is good, but Raul Julia has nothing to do in the movie.
A curiosity for fashionistas. -
There are a lot of things that can go wrong in cinema, even in cases where the persons initially involved are very talented and the basic story ideas show a lot of great potential. "Eyes of Laura Mars" is the perfect example to state this. The supernatural premise, penned down by no less than John Carpenter ("Halloween", "Assault on Precinct 13"), is undoubtedly intriguing and rich on artistic opportunities, yet due to an incredible amount of production difficulties and constant re-writings of the script, it ended up being a hopelessly muddled and disappointing thriller. Carpenter gave up when he saw that his original idea got slowly turned into a gimmicky mystery, revolving more on the glossy charisma of its lead actress than on the actual trump of film: a series of bizarre murders in the world of professional photography. Faye Dunaway stars as the female version of the controversial real-life "artist" Helmut Newton and exhibits shock-provoking photos that portray death, mayhem and prostitution in New York City. Suddenly and for reasons that remain unexplained, she can witness with her own eyes how a gloved serial killer brutally stabs her closest friends & co-workers to death. Laura's descriptions appear identical to how the murders were committed and thus the handsome Detective John Neville personally takes pity on her, as she unquestionably will become the killer's main target. Experienced horror/thriller fans that are slightly familiar with Italian cinema will immediately spot the similarities between this film and the typical gialli (= violent Italian murder-mysteries) of 70's and early 80's. "Eyes of Laura Mars" contains multiple trademarks of the giallo, but sadly lacks the stuff that makes them so fantastic, namely bloody gore and sleaze. Style & substance characteristics are definitely well presented: bizarre title, far fetched psychic sub plots, implausible red herrings left and right, an insane denouement, silly music You almost get the impression that producer Jon Peters WANTED to make an American attempt to giallo but eventually didn't had the courage to make it as demented as it should be! "Eyes of Laura Mars" is a tedious and slow-paced film, with cast-members that perform below their normal skill and a director that didn't really knew what he was doing. And then still we have to be grateful that Barbra Streisand didn't play the lead role, as it was intended before Dunaway took over