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This is the Hannibal Trilogy, with all 3 Versions starring Anthony Hopkins as Hannibal Lector
UPC Codes 027616088178 and 025192273629
RED DRAGON
Based on the novel by Thomas Harris, RED DRAGON stars Edward Norton as Will Graham, the intuitive FBI agent who captured the notorious Hannibal "the Cannibal" Lecter (Anthony Hopkins). When another killer, dubbed "the Tooth Fairy," begins a series of bizarre, seemingly random killings, the now-retired Graham reluctantly agrees to aid in the investigation. In order to get further into the mind set of the murderer, Graham consults the imprisoned Lecter, who offers cryptic commentary that the determined agent must decipher. However, the Tooth Fairy himself, Francis Dolarhyde (Ralph Fiennes), is also in contact with the infamous epicurean, and the case soon develops into a deadly cat-and-mouse game, with Lecter deviously playing both sides. Rather than attempting to remake MANHUNTER--Michael Mann's 1986 adaptation of RED DRAGON starring William L. Petersen as Graham and Brian Cox as Lecter--or recreate the monster-movie atmosphere of HANNIBAL, director Brett Ratner wisely chooses to focus on the character-driven specifics of the first Hannibal Lecter novel. As in THE SILENCE OF THE LAMBS, the unblinking Hopkins makes the most out of his screen time as the eloquent yet terrifying former forensic psychologist. Norton is excellently understated as the talented investigator, while Fiennes explores the full range of his conflicted character, from a sensitive man-child to a methodical psychopath. These key performances are enhanced by strong supporting turns by Emily Watson, Philip Seymour Hoffman, Harvey Keitel, and Mary-Louise Parker. Ratner's capable direction extends to his choice of crew, which includes SILENCE OF THE LAMBS screenwriter Ted Tally and production designer Kristen Zea, as well as MANHUNTER cinematographer Dante Spinotti.
THE SILENCE OF THE LAMBS
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Jodie Foster and Anthony Hopkins will likely be forever associated with their roles in this bone-chilling masterpiece, based on the novel by Thomas Harris and directed by Jonathan Demme. FBI trainee Clarice Starling (Foster) is sent by her supervisor (Scott Glenn) to interview ferociously intelligent serial killer Hannibal "The Cannibal" Lechter (Hopkins) at his cell in a Maryland mental hospital. The FBI hopes Lechter can provide insight into the mind of killer-at-large, Buffalo Bill (Ted Levine), whose current abductee happens to be the daughter of a senator. Intrigued by Clairice, Lechter demands information about her personal life and in exchange for clues, and the two begin to form a strangely intimate connection, with a girl's life hanging in the balance. Starling is gradually revealed as a woman struggling out of her own darkness, bound to aid the dysfunctional males around her on their own paths of transformation, liberation, and destruction. This is a film of brilliant and disturbing beauty that transcends its B-movie origins (though it does honor them with a cameo appearance by Roger Corman). Its enduring influence has led to a slew of similarly dark-toned serial killer films.
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HANNIBAL
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After a decade in abeyance, the courtly cannibal, Hannibal Lecter, returns to the screen, again played by Anthony Hopkins, under the direction of Ridley Scott. When F.B.I. Agent Clarice Starling (Julianne Moore) is blamed for a botched drug bust, her boss Paul Krendler (Ray Liotta) makes a media circus of her humiliation, which catches the attention of Lecter. Now a hardened veteran, she begins receiving letters from the twisted genius, who remains obsessed with her. Yet she's not the only one interested in drawing out the psychopath, now lecturing on the Renaissance in Florence. Italian detective Pazzi (Giancarlo Giannini) hopes to impress his young wife by nailing the reward for his capture, and wealthy pedophile Mason Verger (Gary Oldman) is eager to take revenge against the cannibal for leaving him with a hideously deformed face. But they're no match for Hannibal's coyly satanic ubiquity, which bewilders his quickly narcotized foes before he administers a punishment sufficiently grotesque to suit his sense of amusement.The odious Krendler, in particular, learns to use his gray matter for, perhaps, the first time in his life. However, all is prologue to his fated rendezvous with Clarice. A banquet for the splatterati, reveling as it does in gore and dismemberment, the film features brilliant work by a stellar cast, and the kind of meticulous art direction and lushly magnificent photography that one has come to expect of one of Scott.
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