#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – While taking a shower, Kate Miller, a middle-aged, sexually frustrated New York City housewife, has a rape fantasy while her husband stands at the sink shaving. Later that day, after complaining to her psychiatrist Dr. Robert Elliott about her husband’s pathetic performance in bed, she meets a strange man at a museum and returns to his apartment where they continue an adulterous encounter that began in the taxicab. Before she leaves his apartment, she finds papers which certify that the man has a venereal disease. Panicked, Kate rushes into the elevator, but has to return to his apartment when she realizes she’s forgotten her wedding ring. When the elevator doors open, she’s brutally slashed to death by a tall blonde woman wearing dark sunglasses. Liz Blake, a high-class call girl, is the only witness to the murder and she becomes the prime suspect and the murderess’s next target. Liz is rescued from being killed by Kate’s son Peter, who enlists the help of Liz to catch his mother’s killer as Detective Marino who’s in charge of the case is uncooperative in the investigation.
Plot: A mysterious, tall, blonde woman wearing sunglasses murders one of a psychiatrist’s patients, and now she’s after the prostitute who witnessed it.
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|7.1/10 Votes: 35,951|
|6.9 Votes: 499 Popularity: 9.121|
Following a housewife’s brutal murder, the only witness to the incident teams up with the woman’s son to try to find the culprit which leads them to the patient of a psychiatrist who treated her and tries to stop the killer from striking them in order to cover the crime.
This one turned out to be quite the rather enjoyable effort. A lot of the film’s great parts come from the manner in which this one deals with the expectations featured here of the film by following so close to its influences. As it follows so close to the main format here, as the general structure employed here comes directly with the structure of having the first half focus solely on the victim to get killed off and then morph over into the investigation into the incidents, that makes for a great deal of fun here as it deals with the few changes to be had with the storyline. That familiarity lends itself a great deal to the overall manner in which this one moves along as that keeps this one a lot more entertaining than it really should be without a whole lot of slashing action throughout here. With a big emphasis on the murder investigation and her involvement in the procedure, there’s a nice emphasis here to follow up the later adverts of that ones’ followers in a distinctly European manner by introducing not only the main investigation from the police but also going rather nicely into the amateur investigation by way of a piece of evidence only briefly glimpsed during the incident that becomes a central part of the investigation. These elements all give it a rather distinct and pronounced atmosphere to these brands of films which really lets it dwell in that type of sleaze far more comfortably than would be expected, not only from the type of nudity but also the rather stark sex scenes and frequently intoned psychosexual themes from the killer’s motivation which is straight out of that particular school of thriller which makes this one connect quite well there. Even with some incredibly well-done stalker scenes, including the opening attack in the elevator, the subway sequence or the finale at the office which give this some rather suspenseful stalking as well to balance it all with plenty to like. These don’t help the fact that there’s just not a whole lot of slasher action here, as the more thriller aspects here dominate this one so it doesn’t have a lot of stalking scenes and the body count itself is so low as to not really offer much in the way of bloodshed or gore. Those looking for a straight-up slasher won’t be interested in this one at all.
Rated R: Extreme Graphic Language, Full Nudity, Graphic Violence and several intense sex scenes.
Dressed to Kill is directed and written by Brian De Palma. It stars Michael Caine, Angie Dickinson, Nancy Allen, Keith Gordon and Dennis Franz. Music is by Pino Donaggio and cinematography by Ralf D. Bode.
Brian De Palma continues his commitment to Hitchcock thrillers with this erotic and lurid slice of entertainment pie. Plot in short order finds a razor wielding blonde woman on the loose in the city. A high class prostitute, a psychiatrist and the son of a victim try to solve the mystery before they themselves fall to the blonde killer.
De Palma throws it all at the audience here, merrily pushing people’s buttons as he goes. He uses all the tools and tricks of his trade for maximum impact, blending a number of genre staples and churning out a hyper stylised neo-noir that gleefully toys with audience expectations. Oh the plot is bonkers, deliriously so, but De Palma is a crafty pro who deftly marries up the excesses of the plot with virtuoso camera work, and not content with that he then brings Donaggio’s musical score into play to ensure the viewer’s senses are tingling.
Unsurprisingly for the director, Dressed to Kill is sexually charged and violent, from the steamy beginning that ruffled feathers in a number of quarters, to the outrageous coda at the end where De Palma homage’s himself, it’s a film revelling in its schlocky being. However, it still has time for dramatic suspense and dangerously sensual mysticism, reference an extended section of film that sees Allen’s hooker pursued relentlessly through the perils of the subway system, and a sequence played out at an art gallery without dialogue as we become Dickinson’s disoriented eyes. Then there is the key murder scene, a dizzying array of slashes and cartoonish blood, it’s purposely excessive and followed by screw tightening suspense that sets up the rest of the movie.
De Palma and his on form principal cast members are having fun, how could they not with such trashy material to work from? Is Dressed to Kill phobic and misogynistic? Well plenty of people think so, in fact there was quite a fall out when the film was first released, when De Palma was subjected to the ire of a few minority groups. Judge for yourself is the only way to go really, but personally in amongst the schlock I feel there’s comment on the dangers of fantasising beyond your realm, or of unfaithfulness, maybe even that America is itself irresponsible for its treatment of women on film? Of course it could just be De Palma at his most playful? Sitting there giggling to himself as others lose their cool… 8/10
Amazing music and camera movement
For early 80′ this movie deserves respect. Brian De Palma present story that keep’s your attention to the last minute.
I usually start napping after barely half of movie’s today but he’s movies keeps me focused. What i like in this and on movies by Palma i watched is-unpredictability.
Good movie, worth of watching, seriously.
It can be better of course but it’s good. Long as keep your attention, driving you into story, stopping you from thinking. You just lie and let movie drives you into a story, enjoying a good trip to the end.
Acting is so natural, almost like in real life behavior. Characters in this movie are very natural. I like that.
It is difficult to know just how to judge Brian DePalma’s films. He is undeniably talented, and is capable of creating masterful works of kitschy dark humor like CARRIE and THE PHANTOM OF THE PARADISE, elegantly stylized suspense thrillers like OBSESSION and slick colorful popcorn epics like THE FURY and THE UNTOUCHABLES. Yet, much of his filmography is dominated by cheesy trash, marked by sloppy plotting, self-consciously showy set pieces and sometimes embarrassingly awkward drama. Often, too often, he focuses his attention on one or two sequences on which he can sate his penchant for flamboyant camera stunts and the rest of the film is slapped together with narratives and scenes that are as rickety as a rope suspension bridge from an old jungle movie.
His tendency to plagiarize, er, uh … pay homage to Alfred Hitchcock is well known, but he is not all that discriminating in his thefts. He steals the set up for DRESSED TO KILL from Hitchcock’s PSYCHO, imitates a bit of VERTIGO and even shoplifts from FAMILY PLOT, but the bulk of the film has no great respect for the master’s work. It is like stealing the crown jewels to use the gems as trinkets on a dime store charm bracelet. The bits and pieces of Hitchcock that DePalma flashes on screen are meant to be nothing more than little trophies.
Like PSYCHO, the film is a two-part story; part one being a personal drama about a woman in emotional turmoil and the second half a thriller. But one of the reasons DRESSED TO KILL doesn’t work is that DePalma doesn’t seem to get what makes PSYCHO great and he totally fumbles act one. In PSYCHO, Hitchcock carefully structured the Janet Leigh story to be a compelling, self contained drama, separate, yet firmly connected to the Anthony Perkins thriller that followed. DRESSED TO KILL gives us this long and ultimately pointless shaggy dog act one involving Angie Dickinson as Kate Miller, a desperate housewife looking for some hot sex in the afternoon. DePalma has never shown any intrinsic gifts for comedy, yet he repeatedly goes for ill-considered humor to no real effect. When Kate serves up a smirky sexual innuendo to her teenage son, you can’t help but cringe. Her discovery that she might have been exposed to a venereal disease seems aimed at getting a tasteless laugh, Even her lurid masochistic sex dream comes with a punchline.
The film treats Kate like a pathetic joke and introduces her to one humiliation after another, before disposing of her and her story entirely. Unlike Leigh’s Marion Crane, Dickinson’s Kate Miller is pitiable, but not very sympathetic. Despite a nice performance by Dickinson, her character is nothing more than a trivial plot device. Yet, this disposable beginning is the best thing about DRESSED TO KILL. Though it is treated with all the subtlety of second-rate soft-core porn, this part of the film at least provides some guilty pleasure sleaziness to it. When the film gets to its slasher movie core, DePalma clumsily stitches together a lame series of sequences involving a cross-dressing killer, improbable coincidences and a vaguely homophobic plot littered with treacherously illogical holes and punctuated with embarrassingly bad dialogue. And the less said the better about the almost comatose performance by Michael Caine as a compromised psychiatrist and the creepy work of Dennis Franz in what would be the first of many stereotyping roles as a vulgar, unpleasant police detective.
When the film came out in 1980, it was greeted with mixed reviews, though a good number of top critics embraced it on purely stylistic grounds. And on one viewing, without much time for thought, the film moves along nicely if improbably from one contrived moment to the next. But great, or even good thrillers should be able to endure repeated viewings; knowing all a film’s secrets should not lessen the enjoyment of watching it more than once. Indeed, the more a film like PSYCHO reveals about itself the more there is for the viewer to enjoy. But the striptease that DRESSED TO KILL does over repeated viewings only prompts the viewer to see that the pseudo-sophisticated style DePalma drapes over his tale is only meant to hide an already lifeless mannequin.
Original Language en
Runtime 1 hr 44 min (104 min)
Genre Crime, Drama, Mystery, Thriller
Director Brian De Palma
Writer Brian De Palma
Actors Michael Caine, Angie Dickinson, Nancy Allen, Keith Gordon
Awards Nominated for 1 Golden Globe. Another 1 win & 9 nominations.
Production Company Filmways Pictures
Sound Mix Mono
Aspect Ratio 2.35 : 1
Camera Panavision Cameras and Lenses
Laboratory Technicolor, New York (NY), USA (color), Movielab, New York (NY), USA (color prints)
Film Length 2,763 m (Italy), 2,870 m (Sweden)
Negative Format 35 mm
Cinematographic Process Panavision (anamorphic)
Printed Film Format 35 mm