"A REALLY INTELLIGENT INTERVIEWER." -- Lance Henriksen "QUITE SIMPLY, THE BEST HORROR-THEMED BLOG ON THE NET." -- Joe Maddrey,Nightmares in Red White & Blue
Well, well, well--here we are again. Last summer, The Vault of Horror joined forces with Brutal as Hell to bring you a special series entitled The Lucky 13. Over the course of 13 weeks, the staff of both sites selected their favorite horror films in 13 different sub-genres. We all had a lot of fun, and I like to think it resulted in a lot of thought-provoking reading.
And now, because it was so much fun, BAH impresario Marc Patterson and myself have decided to revisit the whole thing with 13 more horrific categories. This time around, given the time of year, it's all about holiday- and seasonal-related horror (more or less). And what better way to kick things off than with a look at our very favorite Halloween movies?
Unfortunately, we're off to a bit of a slow start this week, but we've still got a couple of fine Halloween offerings from myself and VOH staffer Paige MacGregor. Stay tuned for more contributors in the coming weeks. And be sure to check out Brutal as Hell for their favorite Halloween picks!
B-Sol on Trick 'r Treat
Just a few years ago, Michael Dougherty crafted what can only be described as an unqualified holiday classic. From here on in, let it be known: You watch It's a Wonderful Life on Christmas, Darby O'Gill & The Little People on St. Patrick's Day, Yankee Doodle Dandy on the Fourth of July... and Trick 'r Treat on Halloween. It's as simple as that.
What I truly love about this film is the fact that most of it deals directly with the terrors of children, or is in some way tied into Halloween from a kid's perspective. This connects to something primal in all of us--that kernel deep down inside that is still afraid of the dark from when we cowered under the sheets and watched the closet door intently as we tried to fall asleep. In modern times, Halloween has been a decidedly child-oriented holiday, which is fascinating considering it also deals in matters of the horrific and supernatural.
Trick 'r Treat plays on the connection between children and the horrors of Halloween. This element is literally embodied in that creepy-as-hell little sack-headed scarecrow kid who is basically the center-point of the flick. Forget Jigsaw or The Creeper--this little bugger is without question the iconic horror movie icon of the past decade. It's dark material, but at the same time, never gets so heavy as to lose its sense of fun. That's a tough balancing act to pull off, but Dougherty does it with style.
Although I enjoy slashers, thrillers and various other violent and bloody sub-genres of horror, my favorite Halloween movie isn’t a genre classic like John Carpenter’s Halloween (1978) or even a contemporary indie flick like Michael Dougherty’s Trick ‘r Treat (2007). Instead, I like to get into the Halloween spirit by watching the 1993 Disney movie Hocus Pocus.
The plot is a simple one: Max Dennison (Omri Katiz) and his sister, Dani (Thora Birch), move to Salem just in time for Halloween. In an attempt to impress one of his classmates, Max accidentally resurrects three witches who were put to death 300 years earlier. In an unlikely partnership, Max, Dani and Allison (Vinessa Shaw) join forces with a 300-year-old talking black cat and a reanimated corpse in order to stop the witches from sucking the life out of Salem’s children before the sun rises.
Disney movies don’t always withstand the test of time, but Hocus Pocus remains a Halloween staple in my house for several reasons, not the least of which is Bette Midler’s performance as the eldest Sanderson sister, Winifred. In her role as Winnie Sanderson, Bette Midler not only delivers some of the film’s funniest lines (“He has a little man”), but also leads her co-stars—Sarah Jessica Parker and Kathy Najimy—in a catchy musical number that will be stuck in your head for weeks (although it’s good enough that you won’t mind).
The slapstick antics and clever dialogue of the Sanderson sisters are only part of why Hocus Pocus will remain an important part of my Halloween holiday traditions, and we have writers David Kirschner (story), Mick Garris (story/screenplay) and Neil Cuthbert (screenplay) to thank for that. Of course, Sarah Jessica Parker and Kathy Najimy’s performances are similarly comical and impressive as the middle sisters, and it doesn’t hurt that Sarah Jessica Parker wears so much makeup that she’s barely recognizable. Hocus Pocus is a unique blend of fantasy, comedy, and Disney musical that is great for children and adults alike, and I highly recommend watching it at least once this Halloween season.
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Join us next week for The Lucky 13, as we head into the month of November with a look at the popular sub-genre of "Man vs. Nature...
Some new posters have been released for director Matt Reeves' remake of the Swedish horror film Låt den rätte komma in (Let the Right One In), and comparison among the four appears to prove the popularly held belief that foreign posters for U.S. films are much better than those created for domestic use.
The first poster is extremely simple, featuring the film's title, slightly bloody against an icy white background:
The second U.S. poster is, in my opinion, the most impressive of the domestic posters released for Let Me In to date. This poster features actress Chloe Moretz curled up in the fetal position in a pool of what appears to be blood:
The third domestic poster for Let Me In is also extremely simple. Personally, I think that having yet another snowy background, this time with a snow angel centered in the middle of the poster, is boring--but what do I know about poster design?
The final Let Me In poster is my favorite of the four and is, of course, the one poster designed for foreign release. A close-up of Chloe Moretz's face fills the poster, and the greyscale color scheme used draws viewers' attention to one of the only splashes of color in the image: a bright red drop of blood oozing out of Moretz's mouth and dribbling down her lip. Deliciously creepy.
One other film poster created for Let Me In was released earlier this year, using stand-ins due to the fact that the roles had not yet been cast.
For more information on Matt Reeves' Let Me In, currently scheduled for release next month, head over to the film's official Facebook page or IMDb page.
Last month, an announcement was made that work had begun on a feature film about the Warsaw Uprising of 1944--a heroic and tragic 63-day struggle to liberate the Polish capital from Nazi occupation. The film is a collaboration that involves Polish artist and animator Tomek Baginski, best known for his Oscar-nominated short film Cathedral, and the Polish film studio Platige Image, on behalf of the Warsaw Uprising Museum. Hardkor 44 will be the debut film for the Platige Image, and is described as a “sci-fi reimagining of the events of the Warsaw Uprising” that will have "steampunk overtones."
Unfortunately, the news about Polish film Hardkor 44 didn’t garner much attention in the U.S.; but now that promotional images of characters have hit the Internet, Hardkor 44 is catching people’s attention—and with good reason. Hardkor 44 utilizes the film techniques developed by Zack Snyder and Frank Miller in the making of 300 (2006) and Sin City (2005). Like Snyder and Miller’s films, Hardkor 44 will star live-action actors with backgrounds created using computer-generated imagery. Based on the promotional images released for the film to date, it looks like the live actors will be stylized using CGI, similar to the way the actors and actresses were transformed in Robert Zemeckis' 2007 film Beowulf.
All of the press materials currently available for Hardkor 44 are written in Polish, but from what I can gather, the insurgents in the film are courageous, beautiful, well-armed young girls reminiscent of American comic book heroes. The Germans, on the other hand, are perverse cyborg monsters and robots—all of which look extremely cool and terrifying.
Obviously, the Nazi soldiers who fought at Warsaw in 1944 were not cyborgs or robots (although many would agree that they could be described as monsters), and it’s debatable whether a force of beautiful young women resisted the Germans’ attacks for over two months, but Hardkor 44 promises to be entertaining and visually stunning nonetheless.
The official website for Hardkor 44 is live and downloads are available for press kits, however you’ll need to use a translation service to get anything out of the documents and text on the site. Hopefully as the project gains momentum, international attention information will be made available in English (or any other language that you might desire), but until then it’s still cool to visit the site and see some of the images they have posted.
Writer: Ian Edginton Art: Davide Fabbri Colors: Carrie Strachan Letters: Saida Temofonte Cover: Simon Coleby & Jonny Rench Publisher: DC Comics Publication Date: Jan. 1, 2010
Even the threat of imprisonment cannot deter the inquisitive minds of one Sherlock Holmes and his faithful companion, Dr. Watson, when faced with the walking dead. In the second issue of writer Ian Edginton’s Victorian Undead, a six-issue miniseries from WildStorm that pits Britain’s infamous detective against hordes of mindless reanimated corpses, Watson and Holmes make their way back to the scene of the first undead attack, deep underground the streets of London. What they discover there is beyond anything the pair could’ve imagined, and as things below the surface escalate, our heroes must hope for a miracle in the face of a painful and bloody death.
Once again ,Ian Edginton and artist Davide Fabbri deliver an excellent mash-up of traditional Sherlock Holmes story and the gory antics of the living dead. Edginton’s version of the British detective is characteristically intelligent, but thankfully lacks the patronizing nature that some portrayals of Holmes employ. Although he usually is a step or two behind his quick-witted companion, Watson is given an opportunity to demonstrate his own deductive reasoning in Victorian Undead #2, and I must admit that I was surprised by the degree of competence that he displays.
Unlike the first issue of Victorian Undead, which only featured one or two shambling corpses that were dispatched very quickly, the second issue of this series is far bloodier, much more action-packed, and filled with zombies! The interactions that Watson and Holmes have with the living dead in Victorian Undead #2 give the two an opportunity to demonstrate their physical prowess and sharp-shooting skills in addition to the intellectual and reasoning capabilities generally on display in Sherlock Holmes stories.
Each issue of Victorian Undead runs about 28 pages, so only so much story development can happen with each new installment. Fortunately, Edginton does an excellent job of moving the story along at a quick pace while still providing the reader with enough details to keep him or her from getting lost. Davide Fabbri’s art is the perfect compliment to Edginton’s story—both detailed and somewhat stylized, an excellent balance for the series.
If you enjoy the zombie genre and have an extra $2.99 lying around, I’d recommend that you pick up this issue of Victorian Undead. It’s debatable whether or not you need to read the first issue to understand the second, but I’d recommend at least flipping through the original if you intend to read issue #2. -- Paige MacGregor
Every girl wants her first time to be special, but for Arlana Flaherty, “special” doesn’t even begin to describe the first time she made love to her boyfriend, Martin Cleary. Unfortunately for this beautiful Irish lass, the Flaherty clan are the keepers of “The Chill”, an old and powerful magic that grants immortality to a select few for the price of innocent men’s lives. And Arlana’s father has a taste for everlasting life.
More than 40 years later, a serial killer is on the loose in New York City, and as the number of sadistic, ritualistic murders begins to add up, the NYPD and FBI hone in on a suspect: a beautiful young woman named Arlana. The problem? Every witness provides a different description of Arlana, a fact that makes sense to no one save a beaten-down Irish cop named Martin Cleary.
Award-winning novelist and screenwriter Jason Starr’s first foray into the world of comics has resulted in the 192-page graphic novel The Chill, first published in 2009 by Vertigo Crime, a sub-imprint of DC Comics’ Vertigo imprint. The Chill is a gritty, noir-style thriller illustrated by Mick Bertilorenzi. Like the silver screen adaptations of Raymond Chandler and other authors’ original noir fiction, Bertilorenzi brings Starr’s story to life in high-contrast black and white perfect for modern crime fiction like The Chill. The graphic novel’s visual style is reminiscent of newsprint, even down to the texture of the paper, and the result is a tableau that compliments Starr’s writing without detracting from the progression of his story.
Starr’s background as a novelist shines through, and is evident in the extent to which the characters are developed, the complexity of the story, and the twisted, unexpected ending. Even readers who believe they know howitwill end as they make their way through the graphic novel will be surprised by the grotesque nature of Starr’s ending, which is so deeply disturbing as to be virtually unpredictable. The Chill is far from tame, as readers will discover as soon as they begin reading. It's rife with graphic nudity, gore and sex, but it is the fact that Starr addresses the subject of ritualistic murder, intrigue and sexual manipulation in such a head-on manner that sets The Chillapart from other graphic novels I have read.
While it is possible to read The Chill in a single sitting, this is not a light graphic novel. As previously mentioned, The Chill is 192 pages long, and the action doesn't stop for a second, even when Starr's characters are laying out exposition. Fans of horror comics and thrillers certainly will enjoy Jason Starr's crime drama, and I highly recommend picking up a copy, either directly from Vertigo Crime or from another comic book retailer.
I had never heard of the 2000 PC game American McGee’s Alice, but nevertheless when I came across a press release for its sequel, Alice: Madness Returns, I was more than a little excited by what I was reading. Just last week, American McGee officially announced the forthcoming 2011 release of Alice: Madness Returns, a collaboration between American McGee, EA (Electronic Arts, Inc.), and Spicy Horse Games that takes place ten years after the conclusion of the original game, as Alice struggles to overcome the emotional and psychological trauma she suffered after losing her entire family in a fatal fire.
At the start of Alice: Madness Returns, Alice is released from the insane asylum where she spent the past ten years, and into the custody of a London psychiatrist who may be able to put a stop to the nightmarish hallucinations that continue to haunt her. Unfortunately for Alice, the move to London only exacerbates her condition, and as a result she leaves the cold, dark reality of London behind and takes refuge in a shattered and twisted Wonderland.
Although I’m not familiar with the visuals from the original game, American McGee’s assurance that Alice: Madness Returns takes the “colorful world” from American McGee’s Alice and “reinvents it with psychotic personalities and pervasive insanity” sounds absolutely delightful to me. As the recently released promotional images and game trailer illustrate, Alice: Madness Returns promises to be a dark, addictive action-adventure game that will thrill fans of the popular BioShock and BioShock 2 games and psychological thrillers like Remedy Entertainment’s Alan Wake, or Ignition Entertainment’s Deadly Premonition.
What excited me most about Alice: Madness Returns, also known informally as Alice 2, is the concept art and screenshots that were released recently. Not only do the screenshots for Alice: Madness Returns illustrate the dark, violent nature of the game, but the game’s concept art also hints at the expansive, imaginative nature of the Wonderland setting where much of the game will take place. Despite G-rated past representations by companies like Disney, the Alice in Wonderland story lends itself extremely well to exploration of the darker side of human nature and the type of psychological thrills that it seems Alice: Madness Returns will have.
At this point, my only concern regarding Alice: Madness Returns is the lack of information about the game’s user interface. The ease of use for game controls and menus is particularly important to me, so I can’t wait to get more information on how those will work. Alice: Madness Returns has a lot of potential, so I thoroughly hope it isn’t ruined by a shoddy user interface or difficult controls. At this point, I guess we’ll have to wait and see.
Although I can’t answer the question of whether the comic adaptation of writer/director Michael Dougherty’s Halloween horror flick Trick ‘r Treat lives up to its cinematic counterpart (since I haven’t seen the movie), I CAN answer whether the 96-page Trick ‘r Treat graphic novel is worth the two-year wait that fans were forced to endure after the comic’s release date was pushed back from October 2007 to October 2009. The answer? No, Trick ‘r Treat isn’t really worth it.
I’m sure that members of the Trick ‘r Treat film’s cult following will enjoy Marc Andreyko’s Trick ‘r Treat adaptation, but as a reader unfamiliar with the film, I was confused by the multiple stories contained in the graphic novel. Originally, Trick ‘r Treat was scheduled to be a four-part comic series illustrated by Done to Death artist Fiona Staples. The four issues were scheduled to be released weekly in October 2007, the last issue appearing on Halloween. When Dougherty’s film was backlisted, however, the comic’s release was pushed back.
Subsequently, DC/WildStorm made the decision to release Trick ‘r Treat as a single graphic novel, written by Marc Andreyko (Manhunter, Torso), but featuring contributions from four different artists, including Fiona Staples. In addition to Staples, Gen13 artist Mike Huddleston, cartoonist Grant Bond, and The Curse of the Werewhale and The Texas Chainsaw Massacre artist Christopher Gugliotti were recruited to illustrate portions of Trick ‘r Treat, and in my opinion that might be the worst decision that was made by DC/WildStorm with regard to this particular graphic novel.
I was intrigued by the novel’s cover, which was created by the film’s concept designer Breehn Burns and depicts the now well-known Trick ‘r Treat character Sam in his signature costume, partially eaten pumpkin-shaped lollipop in hand. Unfortunately, beyond that I was disappointed. Had Trick ‘r Treat been published in four separate issues as originally intended, I think I would have liked the series better. Lumping four comic-book-length stories that are all based on the Trick ‘r Treat film but are illustrated in very different styles is not the best idea. For readers like me who enjoy some consistency in their graphic novels’ visual style, Trick ‘r Treat’s illustrations detract from the story by distracting the reader from the actions taking place on the page.
As such, I had to read through it several times to focus on the stories being told rather than on the visuals, and what I found was some rather uninspired writing. According to various sources, Marc Andreyko’s writing remains true to the Trick ‘r Treat movie script, which may be why the stories themselves lack imagination and emotion. Stories designed to be told using a combination of audio and visual means don’t always translate well into the written word, even with accompanying illustrations, and despite Andreyko’s best efforts the Trick ‘r Treat graphic novel falls flat.
I would only recommend this graphic novel to those who have seen and enjoyed the Trick ‘r Treat film, and even then I would do so with the disclaimer that I can’t speak to how well the comic captures the feel of the movie. Trick ‘r Treat fans may find that the graphic novel adaptation falls short for them, as well.
The history of horror is populated with a cornucopia of malicious monsters to chill the blood and excite the imagination. But for roughly the past eight decades, one monster in particular has stood head and shoulders above the rest as the most prominent, and the most readily identifiable with the genre: the vampire.
There's something about the vampire's ability to literally drain away human life that seems to resonate at the very epicenter of what horror is all about. From ancient folklore to Victorian literature, and eventually on the silver screen, they have called to us, both terrifying and irresistible. Vampires have been the subject of countless horror films. As challenging as it may have been, our crew--along with the Brutal as Hell gang--have selected our all-time favorites. Read on, and remember, the dead travel fast... B-Sol on Nosferatu
Not only the greatest horror film of the 1920s, but I believe an argument could be made that it might be the finest horror film ever. However, I'll just say it's my all-time favorite vampire flick, and leave it at that. Pure joy for any true horror fan, from beginning to end, Max Schreck's exploits as the demonic Count Orlock make up an almost transcendent experience of movie viewing. It might be easy and predictable to choose this one, but I choose it for a reason--it is the most frightening movie of its era, and still the most rewarding to watch. Not to mention the best screen adaptation of Dracula.
But despite Nosferatu technically being a Dracula adaptation, Max Schreck's Orlock is an entity all on his own, with a distinct persona and look that virtually transcends horror cinema, if not cinema as a whole. The rising out of the casket, the unforgettable shadow-walk up those stairs. This, readers, is the stuff of cinematic horror immortality. It gets no better.
It’s surprising how few vampire films I’ve watched, given how many vampire books and novels I’ve read over the past several years. Fortunately, I’ve managed to avoid the majority of the Twilight franchise, limiting my experience of vampires on the silver screen to the laughable Gerard Butler film Dracula 2000, Robert Rodriguez’ From Dusk Till Dawn, the classic vampire film Nosferatu, and the ever-popular Underworld franchise. For various reasons, I recently reached the conclusion that of this limited selection, Underworld has made its way to the top of my vampire horror movie list to become my favorite movie featuring the blood-sucking undead.
Although Underworld isn’t particularly intellectually stimulating, it is a fast-paced action-adventure horror film with vampires, werewolves (or lycans, as they’re called in the film), and a centuries-old war raging between the two factions. Using the traditional star-crossed lovers theme of Romeo and Juliet, Underworld follows the sexy, self-sufficient vampire Selene (Kate Beckinsale) as she falls in love with a human named Michael Corvin (Scott Speedman). Unfortunately, Michael was bitten by a lycan and is undergoing the painful process of becoming one of Selene's mortal enemies.
Many people will be surprised to know that Underworld was my first introduction to both Kate Beckinsale and Bill Nighy, two actors that I really like. In my opinion, Len Wiseman's casting in Underworld is phenomenal; Beckinsale is the essence of the vampire Selene, and her porcelain complexion couldn't be more perfect for the role. In addition, Bill Nighy is unbelievable as one of the first vampires ever created, corrupt and cruel and filled with hatred for the lycans. The special effects used to turn Nighy into the blood-deprived corpse as he first appears in Underworld is very well done, but without Nighy's effective acting and powerful presence, the role would've fallen flat.
I also love the visual style that Len Wisemen and his Oscar-nominated cinematographer, Tony Pierce-Roberts (Kiss Kiss Bang Bang, De-Lovely), use in Underworld. Everything from the rainy urban landscape and the vampires’ massive, hulking mansion, to the skin-tight black leather that Selene wears and the dark, shadowy complexions of the lycans contributes to the stunning contrast of lights and darks that characterize the film’s cinematography. In addition, the camerawork in Underworld is superb. Establishing shots are often grand urban vistas. Even the use of CGI in these shots is flawless, creating images that convey both the dark, secretive nature of the vampires and lycans while also expressing the enormity of the landscape in which they dwell.
The use of slow motion camerawork during the climactic fight scene at the end of Underworld is genius given the speed attributed to both lycans and vampires in the film. This fight sequence is dissimilar from many of the fight scenes in other contemporary films like Sam Raimi’s Spider-Man 3, which often feature images that move too fast for audiences to follow adequately. Instead, Wiseman and his production team used slow motion not only to keep viewers in the loop with regards to the mechanics of the fight, but also to highlight the beauty of the fight choreography itself.
It is no wonder to me that Underworld spawned both a sequel and a prequel, with yet another sequel rumored to be in production. The leading lady is a sexpot with giant pistols and a hunger for blood, the cinematography is breathtaking, and the story of love and betrayal is interesting, if not compelling. I look forward to a fourth installment of the Underworld franchise, and I hope someone talks Beckinsale back into a skin-tight suit of leather for me.
Vampires and I kind of have a quirky romantic comedy-esque relationship. One minute I’m fawning over the genre for its brilliance, suspense, and eroticism, and the next I’m pulling the hair from my scalp over the blasé simplification and mindless exploitation of its powerful themes (hello, Ms. Meyers…). It would be difficult for me to cite a vampire film from the last thirty years that I’ve seen and can call my favorite. Modern flicks concerning the nosferatu tend to just fall flat with me, no more memorable than the last fast-food burger that slithered down one’s throat. Not so, however, with a little film from the '80s called Fright Night.
From the very first time I viewed Fright Night (on a double-bill with Creepshow, no less!), I knew that I had happened upon something magical. If I’m not mistaken, it was the very first modern vampire movie to have been viewed by my young, impressionable eyes. Up until that point I had only been acquainted with the likes of Lugosi, Lee, and the rest of the gang as they creaked their way through cobwebbed castles and crypts. This was an entirely new experience. Vampires in today’s world? My adolescent spine shuddered at the very thought. Not to mention the overt sensuality exhibited by the charming-as-hell Chris Sarandon and his bloodsucking brethren. Seeing the act of vampirism turned into an appealing and sexual act was a giant bombshell that went off in my brain. Like the ravaged wasteland of a real explosion, my perspective on vampires would never be the same again.
Fright Night is a wild ride, a film packed with homages to those Universal and Hammer terrors, but with a decidedly 80’s flavor. For instance, the vampire’s abode is your typical Gothic house squatting in an impenetrable mist and filled with ghostly antiquities. But a few scenes later we’re transported to a bustling nightclub where the synthesizers blare through the speakers and the dancers have more hair than the members of a werewolf convention. The mixture creates a highly electric and downright fun atmosphere that won’t be forgotten for some time. The powerhouse performances from the ensemble cast bring the movie to a whole new level. I could go on for days about how every role is fully realized and the amazing chemistry that sparks between each actor. Magic like this is a rarity, particularly in horror films. But somehow Fright Night makes it seem like a feat that can be accomplished with a passive wave of the hand.
I love watching movies made by filmmakers who actually love horror movies. The passion and hard work put forth shines in every shot, the loving product of a devoted craftsman. Fright Night is a prime example of just that type of genius. Even though some may see it at worst as only a fair parody of the vampire theme, I actually think it’s one of the sub-genre’s highest achievements. This is how the undead were meant to be seen. Sinister, mysterious, terrifying, and oh-so-seductive (no sparkles included). Fright Night is just the film I’d instantly recommend to anyone seeking a good time with some bloodthirsty friends. It’s everything you’ve been waiting for, with just a little more of a… bite.
My taste in horror trends toward the '70s and '80s, but not even I can resist the baroque charms of Bela freakin' Lugosi as the original vampire. Dracula is a movie that needs no introduction. Lugosi's performance was so intense and profound that even in times when the vampire was represented most commonly by Lestat and Edward Cullen, the cape and brow is still iconic. Slick your hair, throw on a tux and vaguely ceremonial medallion and you're instantly recognizable as Count Dracula 80 years later.
Tod Browning's movie throws most of Bram Stoker's novel out the window and it mixes and matches characters, but the major themes remain. It also represents the beginning of a golden age of horror for Universal Studios where every picture was drenched in crashing thunder and crumbling castles and unmatched performances by legends of the genre. Every god damn frame of Tod Browning's movie is deliberately crafted for maximum gothic. Shots of Lugosi frame his imposing presence perfectly and his intense, burning stare is highlighted frequently by a band of light across the eyes to entrance you exactly as his vampiric stare is supposed to be doing to the cast.
Dracula is fundamentally awesome; the text-book by which all horror films follow and a subtle exercise in how to sneak themes of kinky domination and submission into a movie made in a very chaste studio system. It plays a heavy hand at times, rubbing your nose in its intensity but this expertly crafted horror film is so perfect that it just doesn't matter if it feels excessive. The Count, his vampire brides, his accent and his sinister influence are such incredible storytelling elements and played so perfectly by Bela Lugosi that by comparison, the Harkers and Abraham Van Helsing seem like total downers. Not to put too fine a point on it, I love Dracula.
I'll tell you what else: Mexican Dracula is pretty cool, too.
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Head over to Brutal as Hell to see what Marc Patterson and his crew have come up with. And if you're interested in taking part in the future, just give Marc or myself a holler.
Despite the recent Twilight phenomenon, the most influential vampire lore has traditionally originated in Europe. From F.W. Murnau’s silent film Nosferatu to Bram Stoker’s classic novel Dracula, the most enduring vampire tales have come straight out of places like Germany and England. Now, however, New York Times bestselling author Stephen King joins Scott Snyder and Rafael Albuquerque to create a monthly comic series that revolves around a new, distinctly American breed of vampire.
Well-known short story writer Scott Snyder’s contribution to American Vampire #1 tells the tale of a Jazz Age starlet-wannabe named Pearl and her roommate, Hattie. The two girls spend their days as extras on Hollywood sets, and nights working second and third jobs in order to make rent. When Pearl catches a lucky break on set and is asked to stand in for a light reading for the film’s leading lady, she finds herself swept into a world of decadence, invited to a ritzy party with the film’s elite cast members and other high society individuals. Unfortunately, what Pearl and Hattie discover among the Hollywood hotshots is something far more sinister than expected.
American Vampire #1 features Stephen King’s first comic book writing based on original material. King’s story, titled “Bad Blood”, tells the tale of an 1880 bank robber and murderer called Skinner Sweet. After being taken into custody, Sweet runs into an old enemy while being transferred. The scuffle that ensues gives birth to the first American vampire—perhaps one of the very same creatures that Pearl and her roommate have the misfortune of meeting years later.
The vampires in American Vampire #1 are a unique breed: stronger and faster than their European ancestors, American vampires are also more muscular and vicious than their predecessors as well. Although the first issue of the series leaves the recently bitten Skinner Sweet a bloody heap in the middle of the desert, we already know that he will make a formidable blood-drinker if his personality traits carry over during the transformation.
American Vampire #1 sets the stage for what will undoubtedly be a very interesting vampire story. Assuming that vampires have successfully infiltrated at least part of America (and an influential part, at that) by the time Scott Snyder’s story takes place, the comic series appears to be asserting that a single man could be entirely responsible for the proliferation of vampires in the continental United States. Had the goal of the vampire who turns Skinner been to create a strong, clever creature capable of surviving and even thriving, he couldn’t have chosen a better candidate. After all, the same qualities that made Skinner such a renowned criminal and allowed him to evade capture for such a long time will allow him to survive as a vampire.
When combined with a compelling storyline, the beautiful visual style of American Vampire #1 makes this a must-read title, especially for Stephen King fans. We have a feeling that the king of terror has more than a few tricks up his sleeve for the remainder of the series.
Although he had an extensive career in British film and television prior to his role in Quentin Tarantino’s Inglourious Basterds, actor Michael Fassbender gained a significant foothold in American cinema after his performance in Tarantino’s most recent release. Now Fassbender joins actors William H. Macy and Thomas Haden Church in David Jacobson’s adaptation of Matthew F. Jones’ thriller novel A Single Shot, as was first reported Monday by Screen Daily.
Fassbender, whose horror experience includes the 2008 British thriller Eden Lake and 2009 horror drama Blood Creek, is an ideal candidate to play the protagonist from Jones’ novel, a poacher named John Moon. A Single Shot follows Moon through an unfortunate series of events; after accidentally killing a runaway girl while deer hunting, Moon finds evidence that the girl may not have been alone. After uncovering a large sum of money, Moon ends up on the run from a group of hardened killers with a suitcase full of money and a bull’s-eye on his head.
The novel’s action takes place over the course of seven days, and readers watch as Moon spirals deeper and deeper into a psychological meltdown in an attempt to evade his pursuers. The role of John Moon is thus a demanding one, and it is probably safe to assume that a great deal of the movie’s action will revolve around his character. For these reasons, Michael Fassbender is a perfect choice for the role given the intensity and diversity that he can portray onscreen.
Filming for A Single Shot will begin this summer, presumably after Fassbender finishes with David Cronenberg’s A Dangerous Method (Viggo Mortensen, Kiera Knightley, and Vincent Cassell). For more information on Michael Fassbender, visit the actor’s official IMDb page. For details on Jones’ novel, A Single Shot, you can visit the novel’s page on Amazon.com.
What could possibly go wrong when Stephen Taylor takes his girlfriend Jenny for a romantic weekend camping trip to Eden Lake, a picturesque getaway of his childhood slated to become an expensive housing development? When the couple runs afoul of a group of delinquent teenagers and their vicious rottweiler Bonnie, the weekend getaway turns into a nightmare replete with blood, barbed wire and lots and lots of running.
Eden Lake is a 2008 British horror film that depicts the sadistic harassment endured by Stephen (Michael Fassbender) and Jenny (Kelly Reilly) at the hands of a gang of loud, vulgar teenagers. The harassment escalates until the teens leave for the night. Unfortunately, the end of the day does not mean the end of Jenny and Stephen’s suffering at the hands of the local teens—in fact, it is quite the opposite. The next day the couple’s troubles only increase, as the teenagers’ attacks escalate, becoming more and more violent and life-threatening.
Written by first-time director James Watkins (My Little Eye, Gone), Eden Lake is not a simple horror movie. As with many horror films, the gender relations depicted in Eden Lake are extremely interesting, ranging from a traditionally submissive teenage girl named Paige (played by Finn Atkins) who is loyal to the sociopathic ringleader of her group of “friends”, to the female horror victim Jenny, a debatable “final girl”, as the last woman left alive in a horror movie is often called.
Jenny is an interesting character. While she displays many of the infuriating characteristics of the stereotypical female horror movie victim, I would argue that she embodies a more competent version of this character type than traditionally present in the genre. (Whether that is necessitated by the fact that she is the only female protagonist is a debate for another time.)
We can look at both recent and classic examples of the female horror victim to explore this argument. Take Jamie Lee Curtis’ Laurie Strode character in the original Halloween: although she displays traditional female victim characteristics like poor decision making, she also manages to evade Michael Myers and survive to the end of the film. Laurie Strode is a competent female horror victim--one who, despite her shortcomings, manages to stay alive to the end of the movie.
Although Jenny may not display the same degree of competency that Laurie does, she does have the wherewithal to evade the delinquent teenagers that are harassing her and her boyfriend, Steve, longer than Steve himself does. Audience members will find themselves rooting for her survival as the film goes on, despite her apparent inability to run through the woods without falling or puncturing one of her feet on a railroad spike. But what would a good horror movie be without some gratuitous violence that works to prevent the main victims from surviving their respective plights?
Eden Lake is not only memorable for its interesting characters, but also for the degree of (realistic) violence, and the apathy toward human life displayed by the teenagers depicted in the film. There are two scenes from this film that will forever be emblazoned in my mind because of how disturbing they were to me when I first watched the film. The first is when the teens of Eden Lake use Michael Fassbender’s character, Stephen, as an initiation tool, requiring each member of the group to stab or otherwise harm him while he is tied to a post with barbed wire. The most squeamish of the teenagers—and probably the youngest member of the group—is reluctant to participate, but under threat of death he sticks a box cutter into Stephen’s mouth and scrambles it about a bit before removing it. The scene is so expertly constructed that it manages to deeply disturb viewers without explicit use of blood or gore. I still shiver when I picture it in my mind.
Alternatively, it is the blood and gore of the second Eden Lake scene permanently imprinted upon my brain that makes it so memorable. I’m the type of viewer who “covers” her eyes in a horror movie when I expect a particularly gory scene, but I managed to avoid that habit when watching Eden Lake, perhaps out of disbelief at what I was seeing on the screen. After Jenny rescues Stephen and finds a relatively safe place to hide, she attempts to treat her boyfriend’s wounds in an effort to keep him from losing too much blood and passing out. The first glimpse of Stephen’s worst injury, a stab to the side of his lower abdomen, reveals clumps of black blood oozing out from a large perforation in the skin. Stephen insists on seeing the damage, despite Jenny’s protests, and when he realizes that he’s bleeding black blood, he comes to grips with the fact that he is probably dying. That image of Stephen’s bleeding, oozing wound is burned in my mind in part because of how realistic it looks, and in part because the wound is so much more severe than audiences might expect after watching Stephen's torture at the hands of the teens.
Overall, I highly recommend Eden Lake, especially to British horror film buffs. The relatively small cast delivers excellent performances, particularly the younger actors, and the film is anything but boring. The production value and special effects of Eden Lake are exquisite, rendering the violence and depravity depicted on the screen that much more effective.
The first image of Chloe Moretz in Matt Reeves’ Let Me In appeared online Friday courtesy of Entertainment Weekly (although the image quality isn’t great because it was only available in print and therefore had to be scanned for the internet). Moretz is best-known for her recent breakout role as the controversial foul-mouthed, gun-toting superhero Hit Girl in Matthew Vaughn’s Kick-Ass. When not decked out in a black mask and purple wig, Moretz looks like any other 13-year-old girl; vulnerable and innocent, perfect for her role as the unassuming yet inherently creepy young girl named Abby in Let Me In.
The image doesn’t give us much information about Reeves’ film, a remake of Swedish vampire movie Let the Right One In (based on the book by John Ajvide Lindgvist), unless you’re already familiar with the original. The blood dripping down Moretz’ chin in the still, however, does indicate that the actress gets to do some vampy stuff; and given her credentials, we’re hoping it’s more along the lines of Kick-Ass than Twilight. Regardless, the image confirms that Moretz really is involved with Let Me In (Let Me In is slated for release this October, and it was hard for me to believe I’d get another dose of the young actress in the same year as Kick-Ass), which has me much more excited about Reeves’ remake than I otherwise might be.
Despite the fact that I was bored by Let the Right One In (I know, I know, it’s an amazing movie and I’m going to re-watch because everyone tells me that it’s so good), I’m expecting quite a bit from Let Me In given the immense talent of Chloe Moretz, who reminds me of a young Natalie Portman in The Professional. I’m particularly curious to see Moretz’ portrayal of Abby, a mysterious girl who befriends the film’s protagonist, a 12-year-old outcast named Owen (Kodi Smit-McPhee). Let Me In will follow Owen, a lonely boy who spends his days plotting revenge on the children that bully him and his nights spying on the other inhabitants of his apartment complex. Owen meets and befriends Abby, a girl around his age who only comes out at night and always with bare feet, seemingly impervious to the effects of the elements.
Peter Hall of Cinematical.com had the opportunity to speak with Matt Reeves at SXSW, and at that time the director made comparisons between Chloe and Linda Blair in The Exorcist:
"When I was working on Chloe I kept saying, it's not about playing a vampire, it's about taking her and making her real and to deal with those darker sides of ourselves, the primal nature. When you think of the Exorcist you think of Linda Blair and pea soup and all this madness, but really if you look at the first half of that film, the stuff between her and Ellen Burstyn is so naturalistic and so real. She's incredible in it! People think 'Oh, it's the Exorcist and she's just doing crazy,' but she's so terrific in it and so believable as this young, 13-year old girl. That was really what I meant in the approach of trying to get into that tone. To take this story as if it were utterly real, and if it's real, that would be horrifying."
For more information on Reeves' film, visit the IMDb page for Let Me In.
The first theatrical trailer for the highly anticipated independent zombie western, Devil's Crossing, is finally available. Okay, so it's highly anticipated by me, but trust me, once you hear more about this movie you'll be on the edge of your seat waiting, too. The movie's claim to fame is not only its subject matter--the somewhat less overexposed zombie-western subgenre--but the fact that it was filmed entirely just outside of Charlotte, North Carolina by writer/director James Ryan Gary and producer Paul Streiner.
Initially, Devil's Crossing was dead in the water (pun intended) because distributors said that the script was "too violent" and that some of the characters were "sickeningly aggressive". However, Gary and Streiner decided to push forward and make their film regardless of popular opinion. Since the earliest stages of pre-production, Devil's Crossing established and maintained a large fan following on social networking sites like Facebook, where the film has more than 57,000 fans.
After watching the trailer for George A. Romero's upcoming release, Survival of the Dead, I was concerned that Devil's Crossing might be viewed by the casual observer as similar to (or, even worse, as a rip-off of) Romero's new film, given the prevalence of horses and cowboy hats in Romero's trailer. Fortunately, as you can see from the trailer below, Devil's Crossing has a very different feel and more amateur/documentary camera style than Survival of the Dead, meaning that zombie film fans have not one, but two awesome soon-to-be-released zombie films to look forward to.
The film will be adapted for the screen by Spyglass Entertainment, the production company behind other kid-friendly features such as Stick It, 27 Dresses and The Pacifier. The story will follow Milton and his sister to Heck, where they meet a boy named Virgil who has a map of the Nine Circles of Heck. Together, the youngsters plan their escape from the underworld and the principal of Heck, Bea “Elsa” Bubb.
According to Spyglass Entertainment reps, the company wants the Heck adaptation to be a big, “effects-driven family adventure in the vein of Beetlejuice”, the popular 1988 horror comedy starring Michael Keaton, Geena Davis, Alec Baldwin and Winona Ryder. Director Juan Jose Campanella (whose foreign-language film, The Secret in Their Eyes, took home the Oscar this year) is set to direct the Heck adaptation. Reportedly, Campanella’s work is a testament to his dark side—along with an obsession with the color red—that seems to hold great potential for a film like Heck.
I don’t know a lot about Juan Jose Campanella—although I plan to take a look at his recent Oscar-winning film in the very near future—but I’m still very excited about this cinematic adaptation. Not to mention the outrage and anger that will be incited among parents who say that the film glorifies death or some other ridiculous thing.
For more information on Dale E. Basye’s book series, head over to the series’ official Web site. The film project is currently in development, so unless you have an IMDbPro account you won’t find much on the IMDb site, but we’ll keep our eyes peeled for updates on the film and an official web site.
Revenge may get ugly, but apparently it also gets sexy. A new Jonah Hex one-sheet that features Michael Fassbender, John Malkovich, Josh Brolin and Megan Fox (left to right, above) was released this week, and I must admit that this is the first time I’ve been more than a little bit excited about the film (based on the classic horror/western DC comic of the '70s and early '80s.) Although Malkovitch is a little old for me, there’s no denying that he’s a very entertaining actor, and the fact that he joins seductive leading lady Fox, delectable indie actor Fassbender, and the (usually) ruggedly handsome Josh Brolin (all scarred up to play Hex) is enough to make my head explode.
Granted, I’m not expecting a great deal from Jonah Hex; it’s received very little press as compared to many of the other horror/thrillers coming out this year (A Nightmare on Elm Street, etc.) and chances are it will be a disappointment at the box office (its June 18 release date pits it against the highly anticipated Toy Story 3). But any opportunity to ogle both Fox and Fassbender during the same film is a-okay by me.
The trailer for Jonah Hex was also released on Yahoo yesterday, and I just have to point out that within just the first twenty seconds, we get more than an eyeful of Fassbender’s character, Burke. The 2:30 trailer promises guns, girls (well, a girl, but Megan Fox is worth more than one girl, in my opinion) and explosions—just what every action audience could ask for. While the one-sheet re-energized my excitement in the film, the Jonah Hex trailer has me on the edge of my seat with anticipation over Michael Fassbender’s performance. Aside from John Malkovitch (maybe), Fassbender can act circles around the film’s other leads.
My guess as to who will enjoy Jonah Hex? People like me, who will go to the theater just to watch a gun-wielding Megan Fox prance around in a bustier on the big screen. Also, Michael Fassbender fans who are excited to see the actor--generally consigned to indie films--in his second recent mainstream movie (the last being Quentin Tarantino's Inglourious Basterds). While we can’t predict whether Jonah Hex will be a “good” movie, it’s sure to be at least be entertaining--and probably a bit titillating.
Ever wonder what happened after the events of George A. Romero’s Diary of the Dead (2007)? Chances are you didn’t, but on the off-chance that you did, you’re in luck, because the master of zombie horror is releasing a follow-up to Diary of the Dead, aptly titled Survival of the Dead. The final green band trailer for Survival of the Dead was released by Magnet this week, and we have the only “in-depth” analysis of the trailer that you’ll find on the interwebs.
As you can see from the trailer, Survival of the Dead features a number of zombie movie stereotypes and clichés, including small groups of seemingly overconfident military personnel (first seen at the 0:12 mark), the zombie that comes back to life from under a sheet on the examining table (around the 0:21 mark), individuals attempting to “cure” zombies because they cannot bear to part with undead loved ones (1:07), heavily armed backwoods civilians (first seen at 0:34 and again throughout the trailer), the quintessential man crying as he shoots a gun (1:36), and, of course, the zombie hand poking through a doorway as the door is forced shut (somewhere between the 1:38 and 1:41 mark).
What Survival of the Dead appears to have that other zombie films haven’t featured (to my knowledge, at least) includes a zombie riding horseback (at the 1:31 mark), a “safe” island haven inhabited by feuding families (discussed at 0:48), some pretty serious Apple product placement (also at 0:48), and a zombie with an axe (0:38), among other things. The story is intriguing and the more I watch the trailer the more interested I am in seeing the film—maybe even enough to see it in theaters when it’s released the end of next month (May 28th).
The green band trailer for Survival of the Dead hints at the gore and mayhem that Romero fans have come to expect, but what intrigues me most about this film isn’t necessarily the violence or blood. Instead, it is the storyline—a rather unusual draw for a genre that has little variation (outside of films that take a tongue-in-cheek approach to the zombie genre, like Zombie Strippers). Obviously, the film revolves around a group of military personnel who find out about an island—Plum Island, to be exact—off the coast of Delaware that residents claim to be safe from the zombie hoards. Without any other options, our group of protagonists heads for Plum Island, only to find themselves in the middle of a seemingly endless feud between two families over the fate of the island and its inhabitants.
Whether Romero intended to parallel the ongoing religious feud in Ireland by plopping two heavily accented families—the O’Flynns and the Muldoons—on a small island and having them square off against one another is a mystery, but the parallel can be drawn just from the green band trailer. In my opinion, it will be interesting to see such a blood feud play out when zombies are thrown into the mix—I would imagine that the military outsiders would be floored, to say the least, by the emphasis placed on maintaining separation between the O’Flynn and Muldoon camps even in the face of the living dead.
Although it won’t be released in theaters until May 28, Survival of the Dead will be available on VOD, Xbox Live, Playstation and Amazon this Friday (April 30th). For more information on Survival of the Dead, head over to the film’s official website where you can also see the bloody red band trailer.
Very few film posters can elicit a physical reaction from viewers (except disgust, maybe, in certain situations), but that is exactly what happened when I first saw the new one-sheet for director Rodrigo Cortés’ newest film, Buried. After a very successful world premiere at the Sundance Film Festival, Buried was snatched up Lionsgate, and is coming to theaters this October. Now Lionsgate has released this rather risky one-sheet for the film, featuring nothing more than Buried star Ryan Reynolds trapped in a coffin, under what is presumably six feet of earth.
Personally, I think the poster is not only gorgeous and intriguing, but given that I had to pop a lorazepam after I saw it—hey, I’m claustrophobic—I'd say it’s highly effective, as well. The film, which was scripted by first-time writer Chris Sparling, is described in the official synopsis as follows:
Paul Conroy is not ready to die. But when he wakes up 6 feet underground with no idea of who put him there or why, life for the truck driver and family man instantly becomes a hellish struggle for survival. Buried with only a cell phone and a lighter, his contact with the outside world and ability to piece together clues that could help him discover his location are maddeningly limited. Poor reception, a rapidly draining battery, and a dwindling oxygen supply become his worst enemies in a tightly confined race against time- fighting panic, despair and delirium, Paul has only 90 minutes to be rescued before his worst nightmare comes true.
For more information on Buried, you can check out the film’s recently launched web site, ExperienceBuried.com. There’s not much there right now, but Lionsgate is sure to be adding more information, and probably a teaser trailer or two soon.
As if bringing horror fanatics the 8 Films to DieFor film series wasn't enough, After Dark Films earlier this year announced the inception of After Dark Originals, a festival dedicated to After Dark Films' own original productions (these are films completely financed and owned by ADF). Now After Dark Films has released three gorgeous one-sheets--one for the festival itself and one each for two of the films that will screen at the festival this year--that are sure to catch the fancy of even the most casual horror fan.
Below you can feast your eyes upon the posters for Prowl (vampires?)and Re-Kill (zombies?), two of the eight films that will be featured at After Dark Originals this year. Details on all eight films can be found at BloodyDisgusting.com. Be sure to check it out, as it looks like there are definitely some very worthwhile features included.
Sherlock Holmes has always been considered the world's greatest detective; a man with all the answers. But maybe that was just because he never had to face a zombie uprising. Until DC/Wildstorm's Victorian Undead, that is.
Following some abnormal celestial activity in the skies of London in 1854, rumors begin to circulate about the desecration of the newly deceased as corpses inexplicably begin returning to life. When two workmen succumb to the dreaded curse and Inspector Lestrade is left with a reanimated corpse on his hands, he immediately calls in Holmes to investigate the curious phenomenon. Although Holmes is in the middle of another case involving deadly automata, the detective and his partner, Watson, are coerced into taking Lestrade’s case and temporarily abandoning the investigation of the seemingly unconnected robotic assassin.
While the first issue of writer Ian Edginton’s Victorian Undead, published in November, doesn’t contain copious amounts of action, it does set the scene for a highly entertaining Sherlock Holmes adaptation, rife with both mystery and zombies. Adopting a more traditional approach to the combination of Sherlock Holmes and the undead—one not unlike that used by author Seth Grahame-Smith in his Jane Austen mash-up Pride and Prejudice and Zombies—Victorian Undead #1 shies away from the level of shtick and camp that readers might expect based on Tony Moore’s cover art and the bold “Sherlock Holmes vs. Zombies!” statement featured just below the issue’s title.
One of the best aspects of Victorian Undead #1 is that the issue isn’t preoccupied with scenes of zombie mayhem, something that undoubtedly would be detrimental to the overall storyline. Instead, Davide Fabbri’s artwork is as basic as comic book illustration can be, avoiding the high contrast, somewhat schizophrenic artistic style often adopted by modern horror comics. Given the prim and proper character of 19th century England, Fabbri's crisp, clean lines are highly appropriate, mirroring the organized nature of the society now faced by a hoard of zombies. Likewise, Fabbri’s depictions of the undead of 19th century London mesh perfectly with their surroundings—rather than appearing as monsters ripped from the diegesis of contemporary horror films, Fabbri’s zombies look like characters from Victorian Undead who have died and come back to life.
As with virtually every Sherlock Holmes adaptation, Victorian Undead is essentially a mystery, pitting the great detective against a seemingly supernatural event and setting the stage for a great reveal somewhere down the line. The first five issues of this Wildstorm six-issue mini-series are currently available from Wildstorm Comics online and wherever comic books are sold. Victorian Undead #6 is scheduled for release on April 28.
[Editor's Note: I'd like to welcome The Vault of Horror's newest contributor, Paige MacGregor of Fandomania, who joins us for the first time with a review of that recent UK horror comedy with the hard-to-miss name...]
In true buddy movie fashion, Lesbian Vampire Killers follows a pair of friends as they set out on an adventure into the wilds of the British countryside. After Jimmy’s “serial dumper” girlfriend Judy breaks up with him for the seventh time, Jimmy’s best mate Fletch—recently canned from his job as a clown—convinces Jimmy to go on holiday with him in order to forget about Judy (Lucy Gaskell).
Given their limited resources, Fletch and Jimmy set out on a hiking trip, leaving their destination to chance, and wind up in the small village of Cragwich. When the townspeople send Fletch and Jimmy to a nearby cottage, where they’ve already sent four gorgeous female university students also visiting the village, the two think they’re in for the time of their lives. Unfortunately, their weekend of debauchery is over almost as soon as it begins when the girls--Lotte (MyAnna Buring), Anke (Louise Dylan), Heidi (Tiffany Mulheron), and Trudi (Ashley Mulheron)--start mysteriously disappearing.
Lesbian Vampire Killers follows the traditional horror-comedy formula of movies like Shaun of the Dead, using exaggeration, comedic timing and over-the-top effects to poke fun at the stereotypes used in the horror genre. The film’s premise is a purposely ridiculous one, based on the idea that a powerful lesbian vampire queen named Carmilla (Silvia Colloca) cursed the village of Cragwich hundreds of years earlier, causing each of the girls in the town to turn into a lesbian vampire on her eighteenth birthday.
As is often the case in film, there is only one individual capable of killing the vampire queen once and for all—the last male descendant of the knight who initially killed Carmilla all those years ago—and it is that same individual whose blood can resurrect the vampire queen, making her more powerful than ever before. As those viewers familiar with this formula can imagine, it just so happens that one of our male protagonists is that particular individual, and it just so happens that he ended up in the village of Cragwich.
Each of the characters featured in the film represent an exaggeration of a traditional stereotype, from the exceptionally slutty stoner chick Trudi, to the overzealous village Vicar (Paul McGann) and his daughter, the soon-to-be-eighteen country beauty Rebecca (Emer Kenny). The way that Lesbian Vampire Killers’ plot hinges on these exaggerated character types, and on coincidence, does not take away from the film (as it might in a more serious genre,) but rather adds to its comedic nature.
As previously mentioned, Lesbian Vampire Killers functions very similarly to movies like Shaun of the Dead, but the combination of the dialogue provided by the film’s writers, Stewart Williams and Paul Hupfield, and the antics and repartee of actors Mathew Horne (Jimmy) and James Corden (Fletch) actually elevate Lesbian Vampire Killers beyond Shaun of the Dead and similar films, in my opinion. There are far more laugh-out-loud moments in Lesbian Vampire Killers than in any of the other British horror-comedies I’ve seen, making Lesbian Vampire Killers a must-watch for fans of the genre.