One of the most highly acclaimed vampire movies of all time, Tomas Alfredson's Let the Right One In is a heartfelt, tragic and deeply unsettling film about abuse, neglect, rejection and the violent retaliation these things can lead to. The film is bolstered by powerful performances from its two leads Kåre Hedebrant and Lina Leandersson who were cast after almost a year-long process. Hoyte van Hoytema's stark cinematography heightens the films sense of loneliness and cold, unforgiving resentment. This is contrasted by Johan Söderqvist's heartfelt score, which adds a sense of irony to the film but also adds to the emotional resonance of many scenes.
Score: 9/10
The quintessential vampire picture, Nosferatu remains chilling 90 years after its release, despite the advent of sound, color and the loosening of restrictions of portraying bloodshed onscreen. Murnau's film is filled with a sense of dread that is severely lacking in much modern horror. Hutter's increasing terror as he realizes he is a prisoner of Orlok's castle, the growing paranoia of the villagers culminating in their near lynching of Knock, Ellen's gradual resignation of her fate as she sacrifices herself to defeat the vampire, all of this is heightened by Murnau's moody, atmospheric visuals, his use of tinting, and the gothic, surrealist set design. It would all be for naught if not for Max Schreck, who imbues the vampire with grotesque, otherworldly quality. Nosferatu is not just a great horror film, it's one of the greatest films of all time.
Score: 10/10
Day 24: The Lost Boys (1987)
With it's pop soundtrack, quirky humor, and focus on nerdy adolescent boys, The Lost Boys is about as 80's as a vampire film could possibly be. Stylish visuals from Joel Schumacher and cinematographer Michael Chapman and solid casting prop up a somewhat corny script which combines the youthful camaraderie of The Goonies with Peter Panish ideas about youthful rebellion and eternal youth (though not in a very nuanced way). It has certainly made its mark on the vampire genre, paving the way for the youthful vampires of Buffy and playing with the vampire mythos by having their visage change to a monstrance appearance, their being immune to garlic and able to eat normal food, etc. It's surprisingly restrained at times, waiting until the end of the second act to fully reveal the vampires in their monstrance form and has a good sense of atmosphere and pacing. In the end its just a really fun time.
Score: 8/10
A lesser effort from Carpenter to be sure but even at his worst the director is still more competent than most of his peers. Vampires is worth watching, mostly, for James Woods' Jack Crow, who joins the great tradition of Carpenter's laconic loners which includes Napoleon Wilson, John Nada and of course Snake Plissken. In many ways, this film plays like a slow burn alternative to Blade, which was released the same year. Indeed, it often bears more resemblance to a Robert Rodriguez film then a Carpenter one, with it's amoral protagonists, sexual tension and the blood and gore, which flow freely as Crow's vampire hunters unique slaying techniques are introduced. It's fun but also sluggishly paced and a bit dour at times.
Score: 7/10
The first of the Hammer Dracula films not to feature Terence Fisher as director, Dracula Has Risen from the Grave is easily the weakest of the series I've seen so far. It's not a bad film. There is plenty of atmosphere and the trademark Hammer production design really elevates the film. Director Freddie Francis' use of multicolored filters for the scenes featuring Dracula backfires a little whenever camera movement is involved. The script focuses on a young man named Paul (Barry Andrews) who has a philosophical crisis which is never satisfactorily resolved. The real character growth (though a little too late) comes from Ewan Hooper's faithless priest. The main attraction, Christopher Lee's titular vampire, is sadly sidelined for much of the film. In the end the atmospheric visuals along with solid performances and the presence of Lee (though frustratingly spare) is enough to save the film.
Score: 7/10
Though lacking the original film's heart, the remake of Tom Holland's Fright Night is still a fun watch. It wisely deviates from its source in many places, making this film feel more distinct and preventing from slipping to far into the shadow of the earlier film. The films biggest strength is certainly the casting, particularly from Anton Yelchin, who carries the film, and Colin Farrell, who charisma and presence add a lot to his scenes as the vampire. David Tennant does a great job, as always, as Peter Vincent, even if I'm not in love with this film's reinterpretation of his character. Some pretty awful CGI gore mars what is otherwise solid direction from Craig Gillespie. It's fun, but too unfocused and mean spirited to live up to its predecessor.
Score: 7/10
This adaptation of Anne Rice's classic novel is a bot of a mixed bag. Tom Cruise and Kirsten Dunst are pitch perfect as Lestat and Claudia but Brad Pitt is a little bland as the morose Louis. The film is at its best in the second act, as the three vampire's form a perverse family unit. The film is dripping with black humor, which was a welcome surprise after reading the oppressively dark, depressing novel. The third act is terribly rushed and the novels themes about loss of redemption are often lost in the shuffle. Stan Winston's make-up effects, Dante Ferretti's set design, and Philippe Rousselot's cinematography all combine to give the film a rich visual flavor which is enhanced by Elliot Goldenthal's dramatic score, making liberal use of choir.
Score: 7/10
I will review the last few films and then rank everything hopefully this weekend.
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