16
1978    1 u, 35 mHorror, Drama
6.990%76%6.8
De 17-jarige Martin lijkt op 't eerste gezicht een beetje getikt. In werkelijkheid is hij belust op bloed, dat hij drinkt om zijn seksuele noden te bevredigen. Een familiekwaal, waaraan zijn oom voor eens en voor altijd een einde wil maken...
Directed by George A. Romero

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  • John AmplasMartin Mathias
  • Lincoln MaazelTada Cuda
  • Christine ForrestChristina
  • Elyane NadeauAbbie Santini
  • Tom SaviniArthur / Makeup Artist
  • Francine MiddletonTrain Victim
  • Roger CaineLewis
  • Sara VenableMrs. Willard
  • George A. RomeroFather Howard / Regisseur / Screenplay / Redacteur
  • Michael GornickBarry - Radio Talk Show Host / Director Of Photography
  • Richard P. RubinsteinRichard / Producer
  • Clayton McKinnonDrug Dealer
  • James RoyDeacon
  • Donna Siegel
  • Vincent D. SurvinskiTrain Porter
  • Tony BubaSound
  • Pasquale Buba
  • Regis Survinski
  • Tony Pantanella
  • Tom WeberMan in Bathroom #2
  • GrimeFiVideo30 mei 2026
    Great atmosphere, great acting. An underrated Romero gem. Loved it.
  • Gabriel Sebastião da Silva Basilio12 april 2026
    Gloomy atmosphere, very borderline horror; I believe this movie kinda inspired the 1983 film "Angst" to be made.. the house invading and the rapes was very raw and disturbing. Perfect ending, i simply loved it.
  • Kevin Ward2 juli 2025
    The Italian dubbed, English subbed, Dario Argento Cut with Goblin score. I think I like this version better than the theatrical cut. The theatrical version opens with the train kill, which is cool. But in Argento’s cut, the train sequence is moved to after he’s arrived at Cuda’s. Because the opening titles are attached to the train sequence, if effectively gives this cut A Long Cold Open. Loved the Goblin score here and it gives the film a completely different feel from the more subdued Rubinstein score. The last major difference I noticed was that all of the sections where Martin calls into the radio station are completely removed. Even though the result is that we get less insight into Martin’s headspace, I think the edit flows much better. I remember noting that the theatrical version’s edit felt very choppy in places, but I really didn’t feel that this time. I’m still really holding out hope 🤞🏻🤞🏻 that the 3.5 hour black and white director’s cut somehow finds a release, but it sounds like those plans have been scrapped, for now. 😢

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