Popularity: 1 (history)
Director: | Peter Hall |
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Writer: | Lewis A. Green, Jordan Rush |
Staring: |
Sarah Taylor, a police psychologist, meets a mysterious and seductive young man, Tony Ramirez, and falls in love with him. As a cause of this relationship, she changes her personality when she begins to receive anonymous telephone calls. | |
Release Date: | Oct 20, 1995 |
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Director: | Peter Hall |
Writer: | Lewis A. Green, Jordan Rush |
Genres: | Romance, Thriller |
Keywords | telephone, police, love, police psychologist, erotic thriller |
Production Companies | TriStar Pictures, Alliance Films, Elite Film |
Box Office |
Revenue: $6,858,261
Budget: $6,400,000 |
Updates |
Updated: Feb 01, 2025 Entered: Apr 13, 2024 |
Name | Character |
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Rebecca De Mornay | Dr. Sarah Alison Taylor |
Antonio Banderas | Tony Ramirez |
Dennis Miller | Cliff Raddison |
Len Cariou | Henry Taylor |
Harry Dean Stanton | Max Cheski |
Eugene Lipinski | Dudakoff |
Martha Burns | Maura |
Beau Starr | Grogan |
Phillip Jarrett | Spatz |
Tim Kelleher | Wabash |
Emma Corosky | Young Sarah |
Susan Coyne | Alison |
Joseph R. Gannascoli | Carnival Attendant |
Reg Dreger | Flight Attendant |
Frances Hyland | Mrs. Slotnick |
John Bourgeois | Cop |
Kevin Rushton | Corridor Guard |
Kelley Grando | Young Girl |
Bruce Beaton | Taxi Driver |
Tony Meyler | Cop |
Rodger Barton | Plainclothes Cop |
Nolan Jennings | Waiter |
Bret Pearson | Accomplice |
Teresa Kruze | Anchorwoman |
Name | Job |
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Peter Hall | Director |
Pino Donaggio | Original Music Composer |
Jamie Jones | Stunts |
Alan Anton | Music Consultant |
Elemér Ragályi | Director of Photography |
Jon Comerford | Casting |
Sue Parker | Stunts |
Matt Birman | Stunts |
Janice Ierulli | Assistant Sound Editor |
Greg Nicotero | Prosthetics |
Anna Beben | Production Assistant |
Linda Del Rosario | Production Design |
Richard Paris | Set Decoration, Production Design |
Jane Tattersall | Supervising Sound Editor, Sound Effects Editor |
Dennis Chapman | Unit Production Manager |
Doug McCullough | Lead Set Dresser |
Stephen Willetts | Key Scenic Artist |
Jayson Clute | Second Assistant Camera |
Gregor Hutchison | Post Production Supervisor |
Reva Smilkstein | Post Production Coordinator |
Susan Shipton | Additional Editing |
Cherie MacNeill | First Assistant Editor |
Lewis A. Green | Screenplay |
Roberto Silvi | Editor |
Terry Dresbach | Costume Design |
Brock Jolliffe | Special Effects |
Myron Hoffert | First Assistant Director |
Kathleen Climie | First Assistant Art Direction |
Robert Blair | Property Master |
Tony Guerin | First Assistant Camera, Focus Puller |
Harry Lake | Additional Photography |
Corrina Holunga | Post Production Coordinator |
Esther Behar | Post Production Coordinator |
Marcus Manton | Additional Editing |
Dov Samuel | Assistant Editor |
Sue Conley | Dialogue Editor |
Jeremy MacLaverty | ADR Editor |
Daniel Hamood | Assistant Sound Editor |
Michelle Kaminer | Assistant Sound Editor |
David Appleby | Sound Re-Recording Mixer |
Jordan Rush | Screenplay |
Simon Board | Second Assistant Director |
Elizabeth Calderhead | Lead Set Dresser |
Asunta Blair | Assistant Property Master |
Kerry Hayes | Still Photographer |
Samantha Dubiel | Post Production Coordinator |
Aileen Bell | Post Production Accountant |
Lee Michael Searles | First Assistant Editor |
Liz Roe | Assistant Editor |
Dale Sheldrake | Dialogue Editor |
Roderick Deogrades | Assistant Sound Editor |
Yuri Gorbachow | Music Editor |
Tim O'Connell | Sound Re-Recording Mixer |
Darcy Kite | ADR Recordist |
Andy Malcolm | Foley Artist |
James A. Gore | Assistant Foley Artist |
Tony Van den Akker | Foley Recordist |
Chaim Gilad | Sound Mixer |
Anthony Ramsey | Best Boy Electric |
Frank C. Carere | Special Effects Supervisor |
Desne J. Holland | Key Makeup Artist |
Jon Campfens | Visual Effects Supervisor |
Derek Brady | Location Manager |
Prudence Emery | Unit Publicist |
Dennis Kuss | Transportation Captain |
Lynn Mallay | Production Coordinator |
Susannah Coneybeare | Casting Associate |
Lisa Rankine | Assistant Makeup Artist |
Avi Federgreen | Production Assistant |
Joanne Harland | Assistant Editor |
David McCallum | Sound Effects Editor |
Ed Douglas | Assistant Sound Editor |
Sandrine Isabelle | Assistant Sound Editor |
Don White | Sound Re-Recording Mixer |
Todd Warren | ADR Recordist |
Terry Burke | Foley Artist |
Gina Gyles | Assistant Foley Artist |
Christian T. Cooke | Foley Recordist |
Craig Baker | Boom Operator |
Mark Silver | Key Grip |
Lana Chirco | Key Hair Stylist |
Taylor Turzanski | Assistant Accountant |
Joanne T. Harwood | Script Supervisor |
Nancy Botting-Harrison | Extras Casting |
Fred Mendelson | Construction Coordinator |
Natalie Card | Assistant Production Coordinator |
Martin Dzatko | Assistant Location Manager |
Kai Marks | Assistant Hairstylist |
Neil Olsen | Production Assistant |
Scott Purdy | Additional Sound Re-Recording Mixer |
Jack Heeren | ADR Recordist |
Peter McBurnie | Foley Artist |
Paul Fox | Assistant Foley Artist |
David Rose | Foley Recordist |
Ian Bibby | Chief Lighting Technician |
Imre Sisa | Dolly Grip |
Don McCloud | Prosthetics |
Joanne Jackson | Production Accountant |
Greg Eby | Assistant Accountant |
Rick Forsayeth | Stunt Coordinator |
Orest W. Muz | Transportation Coordinator |
Rob Fowler | Third Assistant Director |
Seana O'Neill | Assistant Production Coordinator |
Chris Shaw | Location Production Assistant |
Neil Fraser | Best Boy Grip |
Name | Title |
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Rebecca De Mornay | Executive Producer |
Barbet Schroeder | Executive Producer |
Ralph S. Dietrich | Co-Producer |
Jeffrey R. Neuman | Producer |
Jean Desormeaux | Co-Producer |
Roberto Silvi | Associate Producer |
Robert Lantos | Executive Producer |
András Hámori | Producer |
Harald Reichebner | Co-Producer |
Martin Wiley | Producer |
Tom Willey | Associate Producer |
Organization | Category | Person |
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Popularity History
Year | Month | Avg | Max | Min |
---|---|---|---|---|
2024 | 4 | 15 | 21 | 10 |
2024 | 5 | 16 | 27 | 10 |
2024 | 6 | 13 | 21 | 7 |
2024 | 7 | 17 | 39 | 9 |
2024 | 8 | 14 | 22 | 9 |
2024 | 9 | 28 | 47 | 16 |
2024 | 10 | 20 | 35 | 13 |
2024 | 11 | 11 | 20 | 7 |
2024 | 12 | 10 | 14 | 7 |
2025 | 1 | 11 | 20 | 8 |
2025 | 2 | 9 | 13 | 3 |
2025 | 3 | 4 | 11 | 1 |
2025 | 4 | 2 | 4 | 1 |
2025 | 5 | 1 | 5 | 1 |
2025 | 6 | 1 | 3 | 1 |
2025 | 7 | 1 | 1 | 0 |
2025 | 8 | 1 | 1 | 0 |
2025 | 9 | 1 | 1 | 0 |
2025 | 10 | 1 | 2 | 1 |
Trending Position
Year | Month | High | Avg |
---|---|---|---|
2025 | 5 | 596 | 723 |
Erotic thriller dulls the senses... Brian De Palma has often come in for some flak over the years, his penchant for sticking tight to Alfred Hitchcock thriller formula has been the source of much consternation in certain quarters. Yet when you view something like Peter Hall's Never Talk to Strang ... ers it rams home just how welcome it is to have Hitch like thrillers at least done well! Rebecca De Mornay is a troubled shrink who whilst dealing with the mind games of a serial killing loony (Harry Dean Stanton), meets sexually charged Latino guy (Antonio Banderas) and indulges in passions unbound. Then she starts to get very unwelcome presents in the post... The erotic thriller has been well trodden, and will continue to be so for sure, so it feels a little churlish to decry Hall's movie for coming off as a weak willed imitator of previous purveyors of the sub-genre, but this blend of Silence of the Lambs meets Sea of Love - cum - Dressed to Kill - cum Fatal Attraction etc etc just comes across as a cheat. And that's because it is! The makers know this and try to hide their ridiculous folly behind eroticism as the two lovely looking headlining stars get sweaty and wet, indulging in sexual play that's as powerful as the surroundings (Banderas lives in a loft apartment resplendent with metal cage and wrought iron doors). But, or should that be butt? The mystery element is weak, the suspense equally so, while the back story of De Mornay's father (a key character) is hopelessly under developed. Then there is H.D. Stanton, stealing every scene is he is in, quid pro quo indeed, yet he's hardly in the film, which ultimately proves to be a tragedy as the plot hurtles towards its implausible and risible revelations. Red herrings come and go as quickly as Becca and Tony's underwear (the continuity editor should have been sacked along with the writers because of one scene BTW), and even though Pino Donaggio scores the music with customary swirling qualities, this just comes off as a piggyback tactic... This is a poor thriller in spite of two very committed and visually attractive perfs from the leads - and of course Stanton's knowingly sleazy turn. Seek this out only if you think Body of Evidence is in the upper echelons of erotic thrillers. 5/10