My Descent Into Madness: The Hunger (1983)

  Apparently Tony Scott started out his career wanting to be David Lynch.  The Hunger is 15% plot development, 5% sex scenes, and 80% under-lit scenes of people staring pensively, jarringly intercut with scenes of monkeys screeching, curtains billowing, and a Bauhaus music video.
  The plot follows 2,000 year old vampire Miriam (Catherine Denueve) and her lover John (David Bowie).  Together they lure young couples back to their home and feast upon their blood (as vampires are wont to do).  But there is a slight catch to their would-be immortal love: while Miriam is indeed immortal, the people she turns to vampires only live a few hundred years before they suddenly and rapidly age into what are essentially mummies.  Bowie has begun to age, so they both seek out the help of Dr. Sarah Roberts (Susan Sarandon), who has been researching progeria and trying to develop a medical solution to rapid aging.  Bowie is interested in her research, while Denueve is interested in far more than that (leading to the film’s infamous lesbian sex scene, which more than lives up to its reputation for extreme hotness).
  This would have worked better as a tightly edited 30-minute episode of Tales From The Crypt, but even at only 93 minutes the film feels overlong.  A subplot involving a young girl getting music lessons could have been cut, along with the subsequent subplot of a police investigation by a young Dan Hedaya (based on that sentence, you can probably guess what happens to the girl).  Both subplots only exist so there can be a final payoff twist at the end that doesn’t actually have any effect on the main plot.
  It wasn’t a terrible movie, and it doesn’t play like a typical Tony Scott film.  He clearly hadn’t found his own style yet, though there are brief moments when he uses a certain lighting style that he will continue to use throughout the rest of his career.  But you’d have to watch a lot of Tony Scott films to really pick up on it (a fate I wouldn’t wish upon anyone but myself).  Overall this was a mediocre debut film that uses stunt casting (Bowie) and an appealing gimmick (hot lesbian sex) to launch the Hollywood career of acclaimed director Ridley Scott’s brother.