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A plastic surgeon (Albert Finney) gets suspicious when models he has operated on begin to die in mysterious ways. With the help of Cindy (Susan Dey), the next in line to be killed, he traces the deaths to a mysterious corporation which develops new technologies. Directed and written by Michael Crichton (Westworld, Coma).Someone is killing the supermodel clients of Hollywood plastic surgeon Albert Finney, and because this is a Michael Crichton movie, there has to be a pop-techno-scientific reason
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(out of 38 reviews)
Review by Thomas Terranova for Looker
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this is in response to ophomike’s great featured review, wherein he felt there was an unanswered question. namely, why were they killing all the models if they just wanted to use computer doubles to get perfect performances?i haven’t seen the film recently, but i think – if i recall correctly – the reason was explained by coburn at one point. besides the issue of perfect performances, building computer models also meant that they didn’t have to deal with the flakiness and mood swings of real actresses and – most importantly – they could use their image forever without ever having to pay them. they would pay the models to submit to the series of full body scans, do some filming in private, and then the models would die. since no one knew of their process, they would keep using the model’s image indefinitely wthout ever paying anyone any royalties because everyone would assume all of the “filmed” content had been done prior to the model’s death.one of my favorite parts was susan dey in the scanning sarcophagus with all the grid lines projected onto her as she was rotated. it was in this creepy, dark, deserted lab – but her agency had arranged it, so she didn’t ask any questions. haha. oh, and also the scene where a model feels she’s being stalked in her own apartment, even though she doesn’t see anyone (too many diet pills?) and she then proceeds to work herself up into a fever pitch until she manages to tangle herself up in the drapes and fall over and out the window… now, i can accept the fact that she was at some point zapped with the black-out gun and then lost bodily control, but please – her little model body did not weigh enough to rip those draperie hooks off the rod. haha.i love this movie and forgive me if my memory has clouded about the details. as a kid, this film left a lasting impression on me and i’m sure it played a part in my fascination (my whole age group’s fascination, perhaps) with sinister technology and corporate conspiracy.
Review by for Looker
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This is a rather unique film, though the commercials in the movie are rather cheesy, but funny which adds to the essence of the film. The music, acting and dialog are your typical 80′s style. I guess that’s why I love movies from the 1980′s. I highly recommend this film who has a Sci-Fi interest. Albert Finney and Susan Dey do a great job.
Review by for Looker
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I used to watch this film on cable ALL THE TIME growing up in the 80′s. What I’ve found over the years is how close we are coming to the realities presented in this film. This film is becoming more and more ironic and brillant each year. It HAS to come out on DVD…PLEASE!
Review by M. Remington for Looker
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Camp dialogue, big hair and glowing, hypnotic eyes…what more could you ask for in a film? When this was first shown on television they added a few scenes…and I only vaguely remember what they were, but involved someone walking on the roof and an extended dinner party. Hopefully whenever they get around to releasing the movie, it will be either an extended version or at least include the deleted scenes.
Review by Chkyrkarma for Looker
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I remember this movie as a favorite of mine back in the early days of HBO. They played it continuously and I spent long summers in front of the TV watching it. Cheesy and very 80′s, but that’s what I love about it.