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Editor’s note: The below list, which the Voice is presenting again for Halloween, originally ran online on October 9, 2014, in the lead-up to the theatrical release of Dracula Untold. Our review of this week’s Dracula Untold doesn’t inspire much hope: “This Dracula Begins-style sword-and-fangs curio plays like someone said, ‘What if we took a vampire flick but did a find-and-replace swapping out all that bare-neck sensuality for some video-game ass-kicking?’ ” But for every genre-entry failure, there are numerous modern vampire movies that manage to plumb and toy with the creature’s mythology in imaginative ways. The breadth of the directors featured here — from French auteur Claire Denis to Germany’s Werner Herzog to American mavericks Jim Jarmusch and Francis Ford Coppola — speaks to the wide variety of voices that have tackled the genre with such ingenuity in recent decades. — Danny King.
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(2012) At times winningly dopey but still easily forgotten, Amy Heckerling’s undead-BFFs comedy Vamps sends up our pop-cultural fascination with bloodsucking but is itself a bit stiff with rigor mortis. “Remember: We said we’d keep up with the times, even if they aren’t as good as the ’80s,” Stacy (Krysten Ritter), her coffin lined with pinups of Michael J. Fox and Matt Dillon, admonishes Goody (Alicia Silverstone).
Ek hazaron mein meri behna hai serial. In staying current, the vampiresses constantly — and to diminishing effect — point out the vapidity of Jersey Shore and iEverything. — Melissa Anderson. Walt Disney/Photofest 18.
Fright Night (2011) Senior Charlie Brewster finally has it all going on: He’s running with the popular crowd and dating the most coveted girl in his high school. In fact, he’s so cool he’s even dissing his best friend. But trouble arrives when Jerry moves in next door. He seems like a great guy at first, but there’s something not quite right — but everyone, including Charlie’s mom, doesn’t notice. After observing some very strange activity, Charlie comes to an unmistakable conclusion: Jerry is a vampire preying on the neighborhood. Unable to convince anyone, Charlie has to find a way to get rid of the monster himself.
Photofest 17. Vampire Academy (2014) Consider this: Director Mark Waters helmed Mean Girls, and screenwriter Daniel Waters penned Heathers. People dismiss films about teen girls, as though that audience’s agonies and fears and passions are forever lesser than those of a grown man in tights. But the Waters brothers’ work can’t be tossed aside.
Like their earlier comedies, Vampire Academy nimbly balances teen paranoia with real threats (here, the deadly Strigoi clan of bloodsuckers, who want to chew up the school). And it knows that friendship — not romance — is a 17-year-old girl’s true obsession. Splinter cell double agent highly compressed pc games.
Best friendship can be all-consuming, even dangerous. It can explode.
But after the debris settles, it’ll still rank first. — Amy Nicholson. Focus Features/Photofest 16. (2009) Finally, there’s a vampire movie worthy of the title The Hunger — even if it arrives under the more potable name Thirst.
Carnal appetite, not a parched palate, is the accelerant that fuels this perverse, prankish, and merrily anti-clerical exercise in bloodletting from Park Chan-wook, the South Korean director whose films function like the moral-retribution mechanisms in the Saw movies — traps with no way out but a permanently scarring exit. ¶ Vampirism would seem an unusuallygenteel diversion for Park, best known for the “Vengeance Trilogy,” which reached its apex with the Jacobean cruelties of 2003’s devious Oldboy. Starting with 2002’s byzantine kidnapping-gone-awry saga Sympathy for Mr. Vengeance, the former film critic and onetime philosophy student has made his subject (and method) the self-destroying machinery of violence. Once somebody throws a switch, the unstoppable gears of his plots mangle the guiltless and the guilty alike. — Jim Ridley.