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Martin [Import]


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Product Details

  • Format: Dolby, NTSC, Import
  • Language: English
  • Aspect Ratio: 1.78:1
  • Number of discs: 1
  • MPAA Rating: R
  • Studio: Lions Gate
  • Release Date: Nov. 9 2004
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (36 customer reviews)
  • ASIN: B0004Z33E6

Product Description

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Martin (John Amplas) is a modern sort of vampire--he gains his victims' cooperation with the use of a hypodermic needle instead of hypnotism, and uses razors in the place of fangs. "There's no real magic," he says. "There's no real magic, ever." He says this to his elderly Romanian cousin, Tati Cuda (Lincoln Maazel), a true believer in the old religion, and self-appointed keeper of Martin, who threatens to do away with the boy if the vampirism doesn't stop. According to Cuda, the boy is actually 85 years old--young for a vampire. Truly, the supernatural element of the film is always at odds with psychological explanations that make Martin out to be a sexually disturbed teen, not an ancient bloodsucker. Martin's vampiric episodes are intercut with sepia footage of similar exploits from some gothic era, which may either be Martin's memories or his imagination; take your pick. Garlic, sunlight, mirrors--these are devices of Hollywood, and have no effect on a hypo-toting vampire like Martin, as he explains the rules in his role of frequent call-in guest on a radio talk show where he's known as "The Count." These ambiguities are left teasingly unresolved by the film, which is more interested in establishing the relationship between the traditional vampire and the modern-day psycho. Along with the film's narrative economy, these ambiguities make Martin Romero's midnight-movie masterpiece.

At the very end Romero borrows an image from Carl Theodore Dreyer's classic silent film Ordet, ratifying a moment of religious ritual. Knowing this as you watch the film only deepens the chill. --Jim Gay


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Customer Reviews

4.5 out of 5 stars
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Most helpful customer reviews

Format: VHS Tape
The movie stars John Amplas and even has a special appearence
by Legend Makeup effects man Tom Savini (Dawn of Dead, Night Of the Living Dead to name a few). The movie also has an appearance by George Romero himself as Father Howard.
Amplas has been in alot of Romero's movies but Martin is the
only movie where he is the star and it's by far his best acting
and by far his best role.
Ive always like George Romero's movies, their full of action, great camera angles, eerie music, and some gore too, the biggest complaint though and this is BIG!! is that George always find a way to screw up his movies. He always likes to kill of several main characters in his movies, just when we are starting to understand or like them.
From Night of The Living Dead to Day of the Dead , George always winds up killing our favorite characters,Barbara, Roger the policeman/swat in Dawn, Captain Rhodes in Day of the Dead etc.
Martin is no exception, I was visually entertained through out the whole film, the great camera shots, the dreamlike scenes in
which Martin is with that girl he bites and the housewife he
meets in his little world.
Oh yes , I forgot to mention Martin is a wannabee vampire who doesnt have fangs but has a strong fetish for blood, he is one sick puppy. But taken his surroudings it's a little understandable. He has some human elements to him but most of the film deals with his addictiveness toward human blood and woman. His Grandfather suspects he is a vampire like Nosferatu and constantly watches Martin.
Martin has some 70's nostalgia to it like the music.
When I saw the cheap ending where Martin's Grandfather killed him,though, I said "Oh no" George did it again, he put a bad ending to a good film.
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By V. Wiley on June 20 2004
Format: DVD
Martin isn't like other kids his age. He's cunning, smart & conceited (he doesn't care about what others think of him, yet acts as though he thinks people should just get it.). The only way he feels comfortable with being around people is when he has physical controll over them. Yet what he really is is a lost & scared kid that's just trying to be like everyone else. He moves in with his much older cousin Cuda, a religious fanatic determined to rid his family of the "curse" of vampirism that's supposedly plagued his family for centuries (Cuda believes Martin was born in 1892). At some times, even Martin himself considers himself a sort of old soul. However, Martin knows this isn't true & blames this thinking on his cousin's religious rantings. Martin knows he needs help, but is afraid to seek it for fear of being found out & riddiculed. He finds solace in the host of a radio talk show, much like a teenager may find comfort in reaching out to a celebrity who, they feel, may have gone through the same things.
The black & white clips were at first confusing because I had no idea where these scenes were going at first. But then I saw how it fit with Cuda's belief that his family was cursed. The ending is a beautiful, but tragic reminder of how society is both intolerant and ignorant of what they can't (or very often refuse to) understand. A must see for any student of psychology and/or sociology!
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Format: DVD
Vividly shot, nasty and seemingly pointless. Or is it? A word from the Maestro himself. "Martin is about all the monsters of the world" says Romero "proposing that they are simply extensions or exaggerations of a certain strain in all of us. Martin concerns the varying levels of moral conscience in the human animal. Not only are the moral lines difficult to draw, but any attempt to categorize behaviours as good or evil will warp any true search for the nature of man. The moral shuffling and turns in tradition help make Martin our contemporary. If he is our own child, our primal conscience looking back at us from the center of our souls, then he is truly a dangerous creature, for then he has us all figured out, while we haven't come close to understanding him." Phew! So this isn't a sleazy flick exploiting violence against women, it's ART! Blimey, I must get a PHD to understand NECROMANTIK and what George is rabbiting on about, as well. I guess if you complain about these degrading scenes then you're against TRUTH! Like it, Centurion. Ah, Gaz, you'll say, he does kill a couple of men, too. I know, he doesn't miss a trick, does George. Long live popular art!
You know, it's a bit rich old tatty Cuda blaming Martin for everything when he let Martin deliver the groceries to the town's women folk house to house. It's a fit up, mate. You should seek immediate restituition once you've returned from the grave.
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Format: DVD
'Martin' begins with a sequence one might more readily associate with the overwrought films of Dario Argento, but filmed with the dispassionate intensity of a Robert Bresson. We see a gentle, shy young man boarding a train headed for Pittsburgh, eyeing a pretty young woman. Because this is a horror movie, we assume he is a serial rapist or killer, and his precise use of tools - an anaesthetic so that he can violate his unconscious victims - furthers the suspicion, as do the usual screams, tussles and shredding of clothes. But there are three breaks from the exploitative norm in this sequence. First is the unsettling meekness of the attacker: far from being shadowy, violent and menacing, he tries to genuinely soothe his victim. Secondly is that Bressonian style I mentioned - no camera movement; the dynamics of the action proceeding by clean, propulsive, interlocking editing that emphasises objects and the hands making ritual use of them. The style distances the exploitative content, and suggests a meaning or purpose beyond the generic norm. Thirdly, Martin is not a rapist or psychopathic killer, but a vampire - the moment his fellow passenger zonks out, he slits open her arms and gorges.
Martin is being sent to his granduncle, an elderly Catholic shopowner who lives with his granddaughter, and who intends to save Martin's soul before destroying him, as if the boy were a drug-addict undergoing cold turkey. As he did with his classic zombie films, Romero takes a horror myth long made ridiculous by parody and camp, and firmly fixes it in the contemporary world, through which prism is presented a satiric view of modern captalism, consumerism, the media, gender, racial and class politics, work, families, a culture of confession etc.
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