The Addiction [DVD]

If ever there was a premise that excites those hunting the vampyric essence The Addiction has it. After being treated as everything from the collective fear of death to a seductive bisexual decadent, The Addiction promises to examine the vampire as a theological entity, a symbol of the spiritual isolation that arises from sin. A glorious idea in theory and one which could have fed new life into the evolving myth of the vampire but not only does The Addiction not live up to its promise, it goes out of its way to make you wish you never got excited about it in the first place.

It's not just that The Addiction is pretentious, it's offensively so. There's no reasoning in this film, no consistency, just a fundamental misreading of existentialist philosophers coupled with impenetrable references to AIDS, original sin, the killing fields and the need to bring suffering upon others. In the latter, The Addiction succeeds admirably. Much like an academic paper with an exciting abstract but dull, self-important content, this is a film that has neither a sense of direction nor a desire to enlighten its audience. The filming is ugly, the acting is mediocre, the tension is non-existent while the whole pseudo-intellectual edifice is held together by a storyline so thin that the makers stop pretending to stick to the script around a quarter of the way in. Even the famous "orgy" sequence leaves its audience less aroused or terrified than it does agitated and bored.

While things threaten to brighten when Christopher Walken makes his brief appearance, you might wonder why he has a knowing smirk on his face. One can only speculate whether he sees the thing as a joke at the expense of the writers. The problem with this thought is that this is a film that takes itself too seriously to even be amusing for its pretension, like a party guest who not only doesn't want to have a good time but wants to make sure that everyone else in the room doesn't have one either. If you're interested in any of the fascinating themes which The Addiction toys with then don't watch it. This film drains 82 excruciating minutes from your life and concludes what Tom Cruise and Brad Pitt did in 3 minutes while wearing French wigs. A hateful film.

This is a vampire movie which is very different to the likes of Twilight, Trueblood or Blade. It's a poetic and disturbing exploration of the nature of addiction, shot in bleached-out black and white to heighten the effect of the blood-soaked moments. If you're looking for an action movie or an episode of Underworld then move straight along -- you'll find The Addiction to be slowly-paced, peculiar and unrewarding.
If, however, you enjoyed Bad Lieutenant Bad Lieutenant [DVD] [1993], The Hunger The Hunger [DVD] [1983] or maybe even Cat People Cat People [DVD] [1982], then this film should capture your attention. A philosophy student is ambushed and bitten in a New York alley. Her descent into insanity and addiction is documented, and she struggles to come to terms with her need to feed and the meaning of personal responsibility. She destroys her relationships with those who trust her, and creates a coven of the undead -- all in an entirely modern manner. The mono cinematography nicely underplays the gory moments, making them more realistic.
Chris Walken has only a short cameo, and it's outstanding. He's at his strange, other-worldly best as a mature vampire, in control of himself and his own addiction. But don't expect to see very much of him; the character slips in and out of the story without leaving much of a ripple.
The filming is a little too 'documentary' for me in places (jarring and jerky) and the soundtrack rather too rap-raucous, which dates the action somewhat. This is also quite a short film, but it packs a big punch for its petite running time. Not the best vamp movie I've watched, but thought-provoking.
8/10

Abel Ferrara's alternate take on vampires has a great idea (a modern drug habit comparison) and a killer cast but is rife with pretension. Philosophy quotes are bounced around as an intellectual smokescreen and even the black-and-white photography seems pompous. Ironically the best parts - a sudden massacre at a party, for instance - come when Ferrara leaves his exploitation roots showing.