A New York cop investigates a series of brutal deaths that resemble animal attacks.
|阿尔伯特·芬尼 (Albert Finney)||饰||Dewey Wilson|
|Diane Venora||饰||Rebecca Neff|
|爱德华·詹姆斯 (Edward James Olmos)||饰||Eddie Holt|
|格里高利·海因斯 (Gregory Hines)||饰||Whittington|
|汤姆·诺南 (Tom Noonan)||饰||Ferguson|
In the opening scenes, a high-profiler magnate named Christopher Van der Veer (Max Brown) partakes in a ground-breaking cerimony for a new building to be built in the South Bronx. That evening, Van der Veer, his cocaine-snorting wife, and bodyguard/limo driver drive through Manhattan to the Battery Park waterfront. While the three of them take strolls around the deserted park, they are stalked by a number of mysterious creatures (unseen except for point-of-view shots set a few feet off the ground and in a strange thermal-image color pattern). They are all killed one by one in rapid sucession b…
Silent, unseen, the creatures live among us... and hunt.
It will tear the scream from your throat.
There is no defense.
- 声音混合： Dolby Stereo (35 mm prints) | 70 mm 6-Track (MegaSound encoding) (70 mm prints)
- 纵横比：2.20 : 1 (70 mm prin
|Orion Pictures (presents)|
|发行公司||Toei Yoga (subtitled) (1981) (Theatrical) (Japan)|
|华纳家庭娱乐 (1983) (VHS) (Belgium)|
|Taurus Video (VHS) (West Germany)|
|华纳家庭娱乐 (1984) (VHS) (Norway)|
|华纳家庭娱乐 (1989) (VHS) (Norway)|
|Warner Archive Collection (2015) (Blu-ray) (United States)|
|首映票房（美国）||$3,037,911, 26 July 1981|
- Director 迈克尔·沃德利 cut of the film that he handed to the studio in Febuary 1980 before his removal from the film in post-production, was over four and a half hours.
- The film was the first movie to use a thermographic visual photographic look to represent the point-of-view of a character, in this case, the wolfen. The type of effect shot has been used in a number of movies to show the POV of a character, usually villainous, like a beast. One notable example of the popularizing of this kind of visual effects perspective is its use in the "Predator" films.
- 达斯汀·霍夫曼 seriously wanted to play the role of Dewey Wilson, but was refused the part by director 迈克尔·沃德利 who really wanted to work with 阿尔伯特·芬尼, who was his favorite actor. It was the only time in his career that Hoffman was rejected for a part.