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| Warner Bros. | Release Date: September 25, 1992 |
Starring:
Anne Parillaud, Anthony LaPaglia, Chazz Palminteri, David Proval, Kim Coates, Marshall Bell, Robert Loggia, Rocco Sisto, Tony Lip, Tony Sirico
Summary:
Marie is a vampire with a thirst for bad guys. When she fails to properly dispose of one of her victims, a violent mob boss, she bites off more than she can chew and faces a new, immortal danger.
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There are marvelous moments from Don Rickles as Sal’s nouveau riche attorney--"Don’t murder a cop on my front lawn!” he exclaims hilariously--and from Elaine Kagan as his terror-stricken, lacquered wife. There are also plenty of unbilled cameos, a Landis trademark, along with moments from beloved old films glimpsed on TV.
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The fact that Innocent Blood works so well comes as a surprise, since Landis (Oscar, Spies Like Us) hasn't made a satisfying movie in years. But this second foray into the comedy-horror genre seems to have revitalized him: At times, Blood rises to the level of some of Landis' funniest stuff, including Trading Places and Animal House. [25 Sept 1992, p.G5]
Drawing a parallel with Gennaro's undercover isolation and hinting at a cautious affinity in a bravura sex scene, Landis brilliantly captures a carnal craving laced with blood lust and dangerous eroticism; but, regrettably, all too often the tone lurches from stylish suspense to smart-ass in-jokiness and silly slapstick.
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``Blood'' seems to be sketches for a more comprehensible film which, alas, we will not see. [28 Sept 1992, p.C08]
Landis spends too much time in the realm of the cartoony, where he's clearly comfortable, and less time in the area of the suavely insinuating, where any vampire movie really lives. Innocent Blood is pumped-up, but anemic. [25 Sept 1992, p.34]
Inocent Blood is an unbelievably lethargic horror comedy directed by John Landis (An American Werewolf in London). Anne Parillaud, the French star of La Femme Nikita, is less sexy than morose in the role of a modern-day vampire who preys on mafiosi. Why mafiosi? For no good reason other than that it allows Landis to stage a lot of scenes in which cut-rate Italian hoodlums stand around yelling at each other.
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