ashild-blovvig I think Faye Dunaway is the best part of the movie. This is the second movie I see her in and she does a good job, but most of her character is about being afraid and have "visions".I do like the premise of the plot, it sounds sort of supernatural in an old fashioned way combined with crime thriller. However, the way it works on screen is not too interesting. We have Faye Dunaway being a controversial photographer, taking pictures of models we don't really get to know. The models are the targets for the murderer here, and we don't really care too much about the girls because we don't get to know them before they're disposed of like eggshells.Tommy Lee Jones is good, not great (he's young in this one, and we know he's become better), and he's one of the few people I've seen who looks somewhat good with a unibrow.I have really liked Raul Julia in his later role as Gomez in The Addams Family, but in this one he's stiff as a stick. I don't think he knows how he wants to act in this one, which is unfortunate.Of course this is a very typical crime romance, so we do get a romance plot, which does come out of nowhere, after the two lovers have met maybe four or five times, and nothing builds up to them suddenly being consumed by sudden lust and love. It's getting boring to watch these kind of plots.There is a "twist" here of course, when it comes to guessing who's the murderer. The "twist" is pretty much impossible to guess because the movie doesn't put out clues, it just keeps you guessing wildly until you only have one or two left to think about. And the nature of the "twist" is lazy, it throws in some little understood mental illness in there to make it more nuts but also more compassionate, but it has literally no build-up until you get a symbolic (and vaguely verbal) answer of what's going in inside the killer's head. I'll throw in, though, the shot "explaining" what's going on with the killer and has all along is a really cool one, when it stands alone.It's never explained what really happens to Laura Mars, with her visions and why. I don't think we necessarily need to get an explanation, but it's not really played with enough or talked about, it just happens that she sees from the killer's point of view. She explains it once to Tommy Lee Jones' character, but he doesn't really question it or talk about the subject at all (they just start goofing around with a camera that she used to illustrate her visions). It could at least be a little bit explained or played more with.This movie has many good things, but it doesn't explore enough. It has lots of pretty women that has basically no character and more used for eye-candy, the script itself is nothing really spectacular, some acting is off, some is pretty good, the suspense is there, but never really gets high enough.

wvisser-leusden Jon Peters''The eyes of Laura Mars' symbolizes the moods & sty-lings of the 1970-s -- as much as Michelangelo Antonioni's famous 'Blow Up' does for the 1960-s.Consequently Laura Mars' lasting visuals outshine its story by far. Bright and dashing, glittering all around, these visuals strongly remind us of what the 1970-s really were about: sexual freedom unhampered by AIDS (which emerged as late as the 1980-s).However, I spot a significant difference with 'Blow Up'. Antonioni has his 1960-s visuals brilliantly supported by a half hidden and intriguing story. Unfortunately 'The eyes of Laura Mars' lacks such a refined extra value. Although not bad, this film's story reminds us of a mediocre police series on your television. It may even degrade its visual brilliance.Apart from its new & newly tolerated sexual freedom, there is not much left to tell about the 1970-s. So maybe Laura Mars' quality-gap between visuals and story may function to symbolize this remarkable era after all.

Danny Blankenship It was nice to see some old classic work in the late 70's from John Carpenter before his big break of stardom on "Halloween". With this work which John wrote "Eyes of Laura Mars" is one filled suspense thriller of drama and violence that keeps a viewer on the edge of their seat and it twist with a surprise. Set in New York City Faye Dunaway is an art fashion model photographer who starts to have visions of killings that are being done by a serial killer just like a psychic she sees it before it actually happens. One by one the clues lead closer to her. Look for Brad Dourif who gives a creep like turn as a drifter and my man Tommy Lee Jones is in top form as detective John Neville. Anyway aside from the blood, drama, suspense and sex in the end this picture takes a twist you really don't expect who the real killer is it will shock!

be-bop-795-4205 I watched this film mainly to see Faye Dunaway of the 1970-s, the period of her classic performances in 'Chinatown', 'Three Days of the Condor' and 'Network'. I found what I was looking for, and more. Some say this was not her best movie, I think it was one of the best. Here she takes the lead, and it is her in the first place who creates all the depth, feeling, and atmosphere to the whole thing. The rest of the crowd are not quite the same league but that's fine as they create a perfect framing for the central character. Great camera work (still camera too). Smart directing. Quality writing by James Cameron... Well, almost so... because even Faye's genius cannot save the film from the shamefully flat ending! I'm not sure who was responsible for the wholly unnatural and banal final twist, was it the writer, or the director, or probably the finance guy? In any case this sharp, stylish, thoughtful, emotionally deep, and visually beautiful mystery drama was to a great extent spoiled by some blunt bloke who apparently believed the 'people' would certainly like a regular 'trilla' with a 'hitchcock' ending to it. I wish I never saw the final 10 minutes and the tape would be just cut off instead... The bottom line is, Faye Dunaway at her best in an excellent stylish film that is admirable all the way through... yet suddenly turns into a 'me too' thriller in the last ten minutes. 9/10, and it would be 10/10 without that silly ending.