The Addiction

The dumb, pretentious script is served up straight, with absolute sincerity and triple-distilled formal and thematic purity, by what may be the most beautiful and powerful direction of any 1995 American feature. Ken Kelsch’s nocturnal black-and-white cinematography is sometimes breathtaking enough to justify the Dostoyevskian conceits of the dialogue (“The entire world’s a graveyard, and we’re the predators picking at the bones”), and the performances by Lili Taylor as the grad student and Christopher Walken (in only one scene) as a fellow vampire have comparable voltage. The mood of Catholic despair and excess is often close to that of Ferrara’s Bad Lieutenant, but it’s even more metaphysical and delirious.

Jonathan Rosenbaum


The Addiction

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