Karry Best movie of this year hands down!

Kodie Bird True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Aubrey Hackett While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

Sienna-Rose Mclaughlin The movie really just wants to entertain people.

jellopuke Sometimes not showing is better and in this case, the original was superior, but what's here is still solid. It takes the erotic level up a notch and the gore yet another, but somehow loses something when compared to the classic version. Some great scenery and gonzo performance from McDowell, but Kinski sometimes loses it. Liked it, but didn't love it.

David Edwards Growing up in the 80s, Paul Schrader's Cat People was (in)famous, mostly for its reported violence and sexual content. As a pubescent cinephile obsessed with horror movies, this film was a mainstay in my must-watch list. Sadly, it wasn't so until 2018. I have many cherished memories of wanting to watch Cat People: the awesome Giorgio Moroder soundtrack, the divided and heated reviews, the haunting poster and the much talked-about sexual content of the film. I am sure that if I had discovered the film during the 80s, my appreciation of Paul Schrader's film would have been quite different to my current opinion. I have the greatest respect for Paul Schrader's body of work whether it is his scriptwriting or directing; the titles simply speak for themselves: Taxi Driver, The Last Temptation of Christ, Raging Bull, ... to name a few Scorsese pictures. One thing is sure about Mr Schrader, his scriptwriting is absolute genius. So what went wrong with Cat People? Please don't misunderstand me. Cat People is perfectly watchable from beginning to end and I do recommend the film. The source material, Jacques Tourneur's Cat People, is an established RKO classic from the early 40's, where it was all about oppressive atmosphere with extremely efficient cinematic expressionism. Stepping away from the traditional horror mould, Paul Schrader explores the themes of sexual frustration and emancipation pointing towards perversity, masochism and desperation doing so without holding back on nudity, violence and taboos. Again, the film is fine but, halfway through, I was getting that niggling feeling that it could have been so much more: bolder, more dreamlike or more nightmarish, more morally violent and more engaging (Lucio Fulci did it with The Beyond and Ken Russell with Altered States). Sadly, the film ends up being a sleazy piece of entertainment with just a few moments of genius. As an open-minded cinephile, I tend to forgive plot holes based on how gaping they are. Be warned, Cat People has its fair share. Once controversial upon its release, Cat People is tame to today's standards while still interesting in its exploration in sexual liberation.

christopher-underwood I have always liked this film but have always been aware that I am in a minority and therefore have considered this an 'Unsung Horror', well worthy of inclusion in the WBD publication, if it were not for the 70s cut off. Its present status seems a little improved and maybe this is as we move further and further away from the 1942 black and white classic original. Schrader has said it was a mistake to give his film the same name and this has to be right for immediate comparisons were inevitable. But even putting this difficulty aside we are still left with the explicit sex and the gory violence in a mainstream film. Nastassja Kinski is lovely in this and carries through with some difficult scenes very bravely. Schrader does well to ensure that that potent mix of young and innocent and ruthless and deadly is maintained throughout, always making sure that we see the cat within the girl. There is some wonderful photography here, from the beautifully constructed zoo to the buildings of New Orleans and even though this is a very colourful film the director remains aware of the power of shadows. People burst from the blackness of rooms, the eeriness of the night scenes enhanced by long and dramatic shadowing, not to mention the recreation of the stunning swimming pool scene.

Armand it is her film. more than adaptation of an exotic story or remake. the sensuality, the beauty, the tension of scenes, the force of images are pieces who defines her presence more than her acting. and that fact is not a surprise. because, far to be a great movie, it is a film of mystery and eroticism. the last is key and central mark and the metamorphose - only the necessary spice. a film interesting for its cast more than its story. and good source for nice memories. exploration of old myth , its seduction force is result of precise balance between different ingredients. far to be remarkable, it is beautiful . and convincing - only for few scenes who can define all movie.