Martin

1978

Drama / Horror

99
Rotten Tomatoes Critics - Certified Fresh 90%
Rotten Tomatoes Audience - Upright 76%
IMDb Rating 7.2 10 8,818

Synopsis


Downloaded 11,211 times
April 2, 2019

Cast

George A. Romero as Washington Reporter
Tom Savini as Man The Knife Killer
720p.BLU 1080p.BLU
801.43 MB
1280*720
English
NR
23.976 fps
95 min
P/S N/A / N/A
1.51 GB
1920×1080
English
NR
23.976 fps
95 min
P/S N/A / N/A

Movie Reviews

Reviewed by Nightman85 10 / 10 / 10

One of horror's greatest character studies!

Over the years George A. Romero has created a number of landmark horror films for the genre. This modern 'vampire' flick ranks among his very best films! Shy teenager, who believes himself to be a century old vampire, comes to live with his superstitious old cousin in Pittsburgh. Romero's Martin is a truly unique, one of a kind psychological thriller. It is a memorable journey from its disturbing opening sequence to its chilling conclusion. Martin, like most of Romero's classics, is a film with plenty of social commentary and believable characters. The driving force behind the films premise is the question of whether or not our title character really is a vampire. Martin has no fangs, no fear of the sun, in fact he actually uses razors and syringes to seize his victims. Yet, Martin has memories of an attack that apparently he did ages ago and his elderly cousin fully believes his young relative to be an evil creature. Romero throws out all of the old fashion vampire conventions for this symbolic clashing of the ways. Romero's direction is, as always, very nicely done with plenty of suspense, atmosphere, and gruesome moments. Romero makes this drama stylishly operatic and adds an occasional moment of dark humor. The haunting music score also adds greatly to the atmosphere. The cast is excellent, but it's star John Amplas who really drives this show. Attractive youth Amplas is a greatly sympathetic character, even as he is the films monster and hero all at once. A film unlike any other of the horror genre, Martin remains a terrific low-budget masterpiece that is as hauntingly effective today as ever. **** out of ****

Reviewed by MisterWhiplash 10 / 10 / 10

A dark family drama in the guise of a typical Romero horror-fest; one of his best as writer/director

One of the two horror film sleepers of 1977 were not necessarily definable under the usual typecasts of the genre: David Lynch's Eraserhead, which drew itself more to a kind of surreal horror from paintings and animation; and this film, George A. Romero's Martin, where the horror is not what is usually expected from the director. Indeed, before I saw this film I generally related Romero to the status of a horror-film maverick, where he brings out much of the violence and tension in his films that we as the audience wouldn't get on TV. His subversion's of the genre, however, can be sensed in his zombie satires, as he makes his characters and situations, for the most part, far more believable aside from the dark fantasy/graphic comic-book quality of the designs and look of the films. There's something to think about with his films, even as flesh and blood get tossed about. But this time, for Martin, he made a story that deals with the human relationships even more so than the creepy and supernatural elements of his other works. Martin is a vampire movie, and there are some key scenes that deliver the good for the fans (and, again, going against expectations, as if Romero was a "new-wave" filmmaker from Europe), but also giving something for people who may not be expecting depth in the themes and situations with these people. The main characters of the film, aside from the protagonist Martin (a twisted and very confused protagonist at that), are all developed very well, and aren't necessarily one-sided or even two-sided portraits of caricatures in other vampire movies. For example, the sort of 'Van Helsing' character in this film is in the form of Martin's uncle Tada Cuda, played by Lincoln Maazel. He's the only one that knows, and is terrified of, Martin's secret life, and upon first bringing him into his home, Tada tries to use crosses and holy water on Martin. Martin can't be fooled, and so Tada resigns, for the moment. While Tada is the kind of typical, harsh old man that acts like something of an antagonist for him and Tada's daughter, he may not be entirely one-sided by the end of the film. The theme of Christianity, as shown in certain variables as the film cuts to black and white flashbacks, explores it in a very on-target way. Why do vampire movies have this kind of magical ability to wash everything with a cross and silver and garlic? Martin seems to ask these same questions, when he calls up a radio show (his only real output of his frustrations, though a media that still treats his despair as a joke). Martin himself, played in a peculiar, low-key way is John Amplas (an actor who has his peak in this film, having only appeared in bit parts in other films, mostly Romero's). He is often observing, never sure what it is he'll say, and much to how his character is and evolves, has skills of a predator. He was perfect for the role, as he has a level of vulnerability and sincerity that can be connected to, while at the same time in a conflict about what to do with his craving for blood. That the other actors, all indie actors (one of them, Christine, played by Romero's wife), are really quite good with the material, helps the feel and flow of the film. Some directors can't stand editing their own films (John Ford once said he hated sitting in on it, as other have as well), and while they sit in with the editors and make notes, few actually go to the machines and do the work themselves. Romero is one of the few that seems to really enjoy the process, and has fun with it. In some ways his movement within the frame, and with the pacing of Martin's sense of reality and of the past, makes the film seem like it should almost belong in an art-house (so to speak) as opposed to at a midnight cult-horror theater. That's not to say he doesn't have it in him to give people their money's worth expecting to get the pants scared off their waists. In fact, there is one big sequence in the film (where Martin stalks and attacks, needle in hand, a married woman who's having an affair) that is one of Romero's most suspenseful and unusual. Not to mention there is an ending that wraps everything up rather terrifyingly- one knows something like this would be coming, but not from this direction. Simply this, Martin is smarter for it's regularly intended audience out for simple thrills and cheesy characters- it's a drama that involves searching for companionship, the significance of religion on people, and trying to fit in to one side or another. And it's also a low-budget 70's horror film with a few scenes that hit more on a visceral level than on cheap effects (not to say there aren't a couple, ho-ho). To put it another way, I viewed the film for the first time on a video released in the 80's. Now I'll be on the look-out for the DVD a.s.a.p.

Reviewed by theoscillator_13 10 / 10 / 10

Brilliant update on the classical vampire genre flick

I am a huge Romero fan but had never seen this gem due to poor video distribution. I just picked up the new DVD and watched Martin for the first time. It truly demonstrates Romero's genius. He takes the classic , Gothic vampire movie that we've seen done a thousand times and manages to put his unique stamp on it creating a deep, philosophical social commentary. Is Martin really a vampire? What is the definition of a vampire in modern society? Just because Martin does not have fangs, garlic has no effect on him and he is more or less immune to sunlight that doesn't mean he is not a vampire. Romero leaves a lot of questions open ended in this film like Martin's mortality or immortality and whether he physically needs to drink blood to survive. Maybe he really is nothing more then a mentally ill, sexual deviant ....but is that really different then any other vampire that we've seen portrayed in any other movie? As you can tell by my comments, this movies raises more questions then it answers and it certainly will make you think more then the average horror movie...which isn't a bad thing. Stylistically, I love the way Romero weaves the current time (the late 70's) in color with the black and white footage of the turn of the century era Martin. That gives a nice contrast between the Bela Lugosi Gothic vampire image and the updated version that is Martin. The cinematography is great and it is just a well crafted film. At it's heart this is the same vampire movie we've seen remade over and over just with some new twists on the genre and in an updated setting. But it is more then that because it really is a mashing of various genres. There are the excorisism sequences which are not common in vampire movies, there are elements of the serial killer thriller genre, some elements of the teenage coming of age story and even hints of melodrama but it all blends seamlessly and keeps the viewer's interest throughout.

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