Starring: Jason Patric, Corey Haim, Dianne Wiest, Edward Herrmann, Kiefer Sutherland, Jami Gertz, Corey Feldman, Alex Winter.For the horror comedy fans in your life who love “Worksploitation” horror (exploitation flicks about day jobs), this is one cold call you should answer.
What starts as a spooky Workaholics episode eventually reveals the satirical staying power of a Mike Judge comedy, as Bloodsucking Bastards unleashes undead corporate warfare with supply closet tools used as weapons. The soul-sucking drain of cubicle life becomes quite literal because vampires can be more productive than humans who sleep, take lunch breaks, and so forth. The horror comedy starring Fran Kranz and Pedro Pascal is about a sales office slowly turning into nocturnal sales agents of doom. Vampirism can represent numerous metaphors - for example, vampirism as addiction is popular - and in Bloocksucking Bastards, vampires invade office spaces.
It’s dreadfully predatory from the get-go and never relents. The '85 version’s practical effects are superior without argument, but Fright Night (2011) gets more credit everywhere else. There’s no comparison between Peter Vincents or Jerry Dandriges - Farrell operates like a shark smelling blood and David Tennant is the Midori-drunk Vegas showman dealing with darker demons.
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Why? Because 2011’s Fright Night, starring Colin Farrell, Anton Yelchin, Imogen Poots, and Toni Collette, is an upgrade in fierceness and pacing, and separates its performances from the originals enough to exist without competing against its elders. Yes, 2011’s Fright Night remake earns an entry while the beloved 1985 original does not. Starring: Anton Yelchin, Colin Farrell, David Tennant, Toni Collette, Imogen Poots, Christopher Mintz-Plasse, Dave Franco.A film that’s never shy about what’s on the tin and even holds its feminist message accountable is better for its slick-supportive-seductive ways. It feels authentic in thematic messages, ambitious yet wholly operating within its means, and still has some nice bloodletting for more hardcore horror fans despite execution that might favor younger audiences. Elmore’s indie oozes LA’er attitudes from messaging to sexy nightlife scenes - complete with a needle drop of Starcrawler’s “I Love LA” - and boasts 10 times the style of contemporary vampire flicks with 10 times the budget. Nicole Maines stars as a transgender teenage girl who moves to Los Angeles and falls in with a badass crew of vampires (run by cooler-than-everyone Diana Hopper as Duke) who do not allow men in their undead club. The “Vibe Check” on Brad Michael Elmore’s Bit passes with flying (neon) colors. Starring: Nicole Maines, Diana Hopper, Zolee Griggs, Friday Chamberlain, Char Diaz, James Paxton, Greg Hill.You can never stifle ambition, which will always find a way. It’s no Nosferatu, but it exemplifies how vampire flicks can differentiate themselves through translucent visual effects and more ghostly disorientation even in days when techniques were limited.
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Most notably, Vampyr heavily uses shadows that maneuver with free will, giving a dreamlike state to supernatural influences. Danish filmmaker Carl Theodor Dreyer implements what little technological advancements benefitted cinema at the time to create a black-and-white vampire mystery that operates in absurdist brush strokes.
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