TATTOO []

Scary sleeper from Germany. In German with English subtitles. Running time: 108 minutes. Not rated (gore, violence, sex, profanity). At the Cinema Village, E. 12th Street and University Place.

—-

ROBERT Schwentke’s “Tattoo” is a blood- freezing German thriller, a very stylish variation on “The Silence of the Lambs” and “Seven.”

You know Robert Schwentke is a writer-director to watch from the opening sequence – in which a naked, bleeding woman is run over by a bus which then explodes.

This movie is not for the faint of heart.

During a stomach-churning autopsy of the burned corpse, we learn the dead woman bit off and swallowed a finger that leads cops to the ghoulish Gunzel (Joe Bausch), who has a basement full of corpses.

But the real prey in “Tattoo” is a serial killer who is collecting his victim’s tattoos.

Like “Seven,” the film pairs a troubled, cynical cop with a green young recruit.

Minks (Christian Redl) is nicknamed “Killer” and there are rumors he killed the man who ran down his wife in a hit-and-run accident.

The much-younger Schrader (August Diehl), is more interested in going to clubs – and in one he finds Minks’ long-missing daughter (Jasmin Schwiers).

Eventually the partners are drawn into a cat-and-mouse game with a wealthy lawyer (Johan Leysen) who sells tattoos that have been removed, along with skin, from their owners – and are hung on walls like paintings.

The puzzle also includes Maya (Nadeshda Brennicke), a beautiful but mysterious friend of the original victim with whom Schrader falls into a torrid affair.

Some of Swenke’s plot twists are far-fetched, but he and cinematographer Jan Fahse create a parade of arresting images – especially when a rain-drenched T-shirt slowly reveals Brennicke’s full-body tattoos.

“Tattoo” is a wonderfully creepy and genuinely scary movie that draws on Hollywood models to create something that stands on its own.

Comments
anonymous profile image
Powered by RoundtableBuilt on infrastructure designed for real-time media. Learn more at RTB.io.© Roundtable 2026. By using this site you agree to the Terms of Use and Privacy Policy