Vampires are creatures that have existed in popular myths and legends for centuries. In cinema, they are the central figures in the subgenre of vampire horror movies, a subgenre that includes numerous must-see films. However, vampires are not the only ones in the horror film genre: they have often appeared in various genres, ranging from comedies and dramas to arthouse films. Being famous in folklore and literature, vampires quickly became ideal characters for the silver screen.
However, vampires, like all legends, have ancient roots in real life and have been a consistently unsettling presence in various cultures, including eighteenth-century Europe. Vampires have been a genuine source of concern for tens of thousands of people in various parts of the world, particularly in rural areas far from major cities, where superstitious practices were considered not only legitimate but also essential for survival.
How Vampires Are Born
A vampire is a legendary supernatural being that sustains itself by feeding on the blood of the living. In European folklore, vampires are undead humans who inflicted harm or death upon the communities in which they once resided. In contemporary times, vampires are generally considered fictional entities, although belief in similar vampiric creatures, such as the chupacabra, persists in some cultures. Early popular belief in vampires has often been attributed to a lack of understanding regarding the natural decay of the human body after death, as well as how individuals in pre-industrial societies attempted to explain it.
Modern fiction’s portrayal of vampires began in 1819 with the publication of “The Vampire” by the English author John Polidori; this story achieved great success and is perhaps the most significant vampire work of the early 19th century. Bram Stoker’s 1897 novel “Dracula” is regarded as the quintessential vampire book and served as the foundation for the contemporary vampire legend, despite being published after the 1872 work “Carmilla” by fellow Irish author Joseph Sheridan Le Fanu.
The earliest documented use of the word “vampire” in English dates back to 1688. It was also recorded in French in 1693 in connection with incidents in Eastern Europe. Another theory suggests that the Slavic languages borrowed the term from a Turkic word meaning “witch.” In various cultures, including Mesopotamia, among the Hebrews, Ancient Greeks, Manipuri, and Romans, there existed accounts of malevolent spirits that are considered precursors to modern vampires. Vampires are often depicted as reanimated evil beings, victims of suicide or witches, although they can also be created by an evil spirit inhabiting human remains or through the act of being bitten by a vampire. Belief in such legends has become so widespread that in certain regions, it has incited mass hysteria and even led to public executions of individuals believed to be vampires.
Vampire Characteristics
It is difficult to provide a single, definitive description of the folkloric vampire, although there are several recurring elements in various European legends. Vampires were typically described as having a swollen or bloated appearance and were often depicted as having a reddish, purple, or dark complexion, which was commonly associated with their bloodsucking nature. When seen in their shroud or coffin, it was believed that blood would seep from their mouth and nose, and their left eye would often remain open. In Russian folklore, it was believed that vampires were individuals or witches who had rebelled against the Russian Orthodox Church during their lifetime.
Various methods were employed to identify a vampire’s grave. One such method involved leading a young virgin boy on a virgin stallion through a graveyard or churchyard, as it was believed that the horse would react fearfully when near the vampire’s burial site. Holes or disturbances in the earth above a grave were also interpreted as signs of vampirism.
Remains believed to be those of vampires were often described as appearing healthier than expected, plump, and showing little or no signs of decay. In some instances, when alleged vampire graves were opened, villagers claimed to have found the remains with fresh blood from a victim smeared on their faces. The presence of a vampire in a particular area was often associated with the unexplained deaths of livestock, sheep, neighbors, or family members
What Vampires Hate
Garlic, Bibles, crucifixes, rosaries, holy water, and mirrors have all been featured in various folk customs as means of warding off or identifying vampires. Other apotropaic items include religious artifacts, such as a crucifix, rosary, or holy water. It is believed that vampires cannot tread upon consecrated ground, such as that found in temples or churches, or cross running water. Mirrors have also been utilized to repel vampires when placed facing outward on a door.
The methods for dispatching alleged vampires varied. Poplar wood was often used for stakes, as it was thought to symbolize the wood of Christ’s cross. Piercing the chest skin was a means of “deflating” the bloated vampire. Decapitation was the favored method in West Slavic and German regions, with the head being buried separately between the feet, away from the body. This act was seen as a way to expedite the departure of the soul, which, in some cultures, was believed to linger in the remains.
In Roma culture, they inserted steel or iron needles into the heart of the deceased and placed pieces of steel in the mouth, over the eyes, ears, and between the fingers at the time of burial. They also inserted hawthorn into the deceased’s sock or placed a hawthorn stake between the legs. In a 16th-century burial near Venice, archaeologists in 2006 interpreted a brick inserted into the mouth of a female corpse as a means of killing vampires.
Other methods included pouring boiling water on the grave or completely incinerating the body. In the Balkans, vampires could also be dispatched through shooting or drowning, followed by reburial, sprinkling holy water on the body, or through exorcism. In Saxon regions of Germany, a lemon was placed in the mouth of individuals believed to be vampires.
Vampires in the 18th Century
Throughout the 18th century, Eastern Europe experienced a craze for vampire sightings, leading to regular excavations and stakeouts in an attempt to identify and eliminate potential vampires. Even government authorities became involved in vampire tracking and stakeouts. Surprisingly, despite this era being referred to as the Age of Enlightenment, during which many folk legends waned, belief in vampires actually intensified, sparking mass hysteria across much of Europe.
This frenzy, commonly known as the “18th Century Vampire Controversy,” persisted for a generation. The situation was exacerbated by a rise in so-called vampire attacks in rural areas, likely due to a higher prevalence of superstition compared to urban neighborhoods. In some cases, residents exhumed bodies and even resorted to staking them. Even well-known writers such as Voltaire mentioned the existence of vampires.
The vampire debate in Austria came to a halt when Empress Maria Theresa dispatched her personal physician, Gerard van Swieten, to investigate the claims of vampiric entities. His findings led to the conclusion that vampires did not exist, and as a result, the Empress enacted laws prohibiting the opening of tombs and the desecration of corpses. This marked the end of the vampire waves. However, despite this official dismissal, the vampire persisted in creative works and in regional folklore.
The Best Vampire Movies to Watch
Here is a list of the best vampire movies to see sorted by year of release. It encompasses several film genres, from comedy to horror, and almost every kind of filmmaking style: from arthouse films to B movies, often touching the territory of commercial and mainstream cinema. The vampire is among the most used characters in the history of cinema.
Nosferatu (1922)
“Nosferatu” is a 1922 silent film directed by F.W. Murnau. It is an unauthorized adaptation of Bram Stoker’s novel “Dracula.” Due to copyright issues, the name of the vampire in the film was changed from Dracula to Count Orlok, but the plot and characters remained largely the same.
The film is one of the early examples of horror cinema and contributed to establishing many conventions of the vampire genre. Max Schreck plays the role of Count Orlok, and his performance has become legendary for its eerie and frightening portrayal of the vampire.
The plot of “Nosferatu” closely follows that of the “Dracula” novel, with Count Orlok moving to a small German town and spreading terror by biting the townspeople and spreading his curse. The film is known for its dark and unsettling atmosphere, with striking cinematography and gothic set design that help create a sense of dread.
“Nosferatu” has become a classic of horror cinema and has influenced numerous directors and films that followed. Despite the legal controversies surrounding its original release, the film is now considered a milestone in the world of cinema and an artistic achievement of German expressionist cinema. It is a film that has stood the test of time and is still widely watched and appreciated today as one of the finest examples of the horror genre.
Dracula (1931)
“Dracula” is a classic 1931 horror film directed by Tod Browning and produced by Universal Pictures. It is one of the most iconic and influential vampire movies in cinematic history. The film is based on Bram Stoker’s 1897 novel “Dracula” and stars Bela Lugosi in the role of Count Dracula, a character he would become forever associated with.
The plot of “Dracula” follows the story of Count Dracula, a centuries-old vampire who comes to England from Transylvania in search of new blood. He preys upon a group of people, including the young Mina Harker, her fiancé John Harker, and Professor Abraham Van Helsing, who are determined to stop him.
Bela Lugosi’s portrayal of Count Dracula set the standard for how the character would be depicted in future adaptations. His distinctive accent, cape, and mannerisms became iconic, shaping the public’s perception of Dracula.
“Dracula” is considered one of the foundational films of the horror genre and helped establish Universal Pictures as a major player in the horror film industry. It was followed by other classic Universal monster movies like “Frankenstein” (1931) and “The Mummy” (1932).
The film’s success had a profound impact on popular culture. Lugosi’s Dracula is a symbol of classic horror cinema, and the image of Dracula as a suave, charismatic vampire has endured for decades.
The 1931 “Dracula” film has inspired numerous adaptations, sequels, and reimaginings of the vampire legend in both film and literature. It remains a beloved classic among horror enthusiasts.
It’s worth noting that while “Dracula” is a classic and beloved film, it differs significantly from Bram Stoker’s original novel, condensing the story and simplifying some plot elements. Nevertheless, it has left an indelible mark on the horror genre and remains an important part of cinematic history.
Vampyr (1932)
“Vampyr” is a 1932 horror film directed by Carl Theodor Dreyer. It is one of the most influential films in the history of cinema and a masterpiece of European art cinema. The film is known for its surreal atmosphere, innovative cinematography, and unique style that sets it apart from many other films of its era.
The plot follows the story of Allan Grey, a young traveler who arrives in a small French village. Grey begins to suspect that the village is infested with vampires and becomes embroiled in a battle against the dark forces threatening the community. The narrative blurs the line between the real and the supernatural, creating an eerie and dreamlike atmosphere.
“Vampyr” is renowned for its stylistic innovations. Dreyer experiments with the use of light, shadow, and editing to create a dreamlike and terrifying atmosphere. The film also features striking visual effects for its time, including an impressive portrayal of the vampire’s demise.
The film has influenced numerous directors and is considered a masterpiece of horror cinema and cinematic expressionism. Its unique visual style and unconventional narrative have inspired generations of filmmakers.
Upon its initial release, “Vampyr” did not achieve commercial success and received mixed critical reactions. However, over the years, it has been reevaluated and acclaimed as one of the most significant films in the history of cinema.
“Vampyr” is now regarded as a classic of art cinema and horror cinema. It has left a lasting imprint on the world of cinema and continues to be studied and appreciated for its visual innovation and evocative power.
Dracula’s Daughter (1936)
“Dracula’s Daughter” is a 1936 horror film directed by Lambert Hillyer. It serves as a sequel to the 1931 film “Dracula” and is part of Universal Pictures’ classic monster movie series. The film continues the story immediately after the events of “Dracula,” focusing on Countess Marya Zaleska, Dracula’s daughter, as she grapples with her vampire nature.
The plot revolves around Countess Zaleska seeking help from a psychiatrist, Dr. Jeffrey Garth, in her quest to overcome her vampiric desires and find a way to be free from her curse. The film explores her emotional and psychological struggle, portraying a vampire torn between her monstrous nature and a desire for redemption.
“Dracula’s Daughter” explores themes of addiction, desire, and the consequences of one’s actions. It is notable for portraying a vampire character as more sympathetic and conflicted, contributing to the evolving mythology of vampires in cinema.
Upon its release, the film received mixed reviews, but it has garnered a cult following over the years and is appreciated for its unique take on the vampire genre. While it may not have achieved the same iconic status as the original “Dracula,” it remains a significant part of the classic Universal Pictures monster movie series.
Son of Dracula (1943)
“Son of Dracula” is a 1943 horror film directed by Robert Siodmak. It is part of Universal Pictures’ series of classic monster movies and is the third film in the Dracula franchise following “Dracula” (1931) and “Dracula’s Daughter” (1936).
The film introduces Count Alucard (Dracula spelled backward), portrayed by Lon Chaney Jr., who arrives in the United States to claim an estate. He quickly becomes involved with a local family, particularly with Katherine Caldwell (played by Louise Allbritton), and it becomes apparent that he is a vampire. Dr. Frank Brewster (played by Frank Craven) and Dr. Harry Brewster (played by Robert Paige) take it upon themselves to confront and stop the malevolent vampire.
Count Alucard is depicted as a suave and mysterious figure, much like his predecessor, Count Dracula. However, this film explores the character in a more modern American setting, and it continues the theme of vampires seeking to establish themselves in new territories.
“Son of Dracula” is notable for being one of the first instances in cinema where the vampire character is portrayed as a suave, charismatic figure, similar to Bela Lugosi’s portrayal of Dracula in the 1931 film. It contributed to the evolution of the vampire archetype in film.
The film received mixed reviews upon its release, but it has gained some recognition over the years for its portrayal of Count Alucard and its contributions to vampire lore in cinema.
While “Son of Dracula” may not be as famous as the original “Dracula” film, it remains a noteworthy entry in the Universal Pictures’ classic monster movie series and is remembered for its portrayal of a charismatic vampire character in a modern American context.
Horror of Dracula (1958)
“Horror of Dracula” is a 1958 horror film directed by Terence Fisher and produced by Hammer Film Productions. It is one of the most iconic and influential adaptations of Bram Stoker’s novel “Dracula.” The film starred Christopher Lee as Count Dracula and Peter Cushing as Professor Abraham Van Helsing.
The plot follows Jonathan Harker, who goes to Castle Dracula to work as a librarian but becomes a victim of the vampire. Professor Van Helsing becomes aware of Dracula’s presence and embarks on a quest to stop the vampire’s reign of terror. The film emphasizes the cat-and-mouse game between Van Helsing and Dracula.
Christopher Lee’s portrayal of Count Dracula in this film is iconic, bringing a tall, menacing, and charismatic presence to the character.
“Horror of Dracula” is known for its lush and colorful cinematography, gothic set designs, and a more overtly sexual and violent approach compared to previous Dracula films. It marked a departure from the black-and-white Universal Pictures versions.
The film’s success led to a series of Dracula films produced by Hammer, with Christopher Lee reprising his role as the vampire count. These films played a significant role in revitalizing interest in classic horror monsters in the late 1950s and 1960s.
“Horror of Dracula” received positive reviews upon its release and is often regarded as one of the greatest vampire films ever made. It remains a beloved classic among horror enthusiasts and is credited with rejuvenating the vampire genre. Christopher Lee’s portrayal of Dracula and the film’s overall style have left an enduring impact on the horror film industry, making it a seminal entry in the Dracula film canon.
The Brides of Dracula (1960)
“The Brides of Dracula” is a 1960 horror film directed by Terence Fisher and produced by Hammer Film Productions. Unlike its title suggests, the film does not feature Count Dracula, as Christopher Lee did not reprise his role. Instead, it introduces a new vampire antagonist, Baron Meinster, portrayed by David Peel.
The plot revolves around a young teacher named Marianne Danielle, who arrives at a remote girls’ school in Transylvania. She becomes entangled in a vampire conspiracy when she encounters Baron Meinster, a charismatic and seductive vampire. Professor Van Helsing, played by Peter Cushing, must come out of retirement to confront this new vampire threat.
“The Brides of Dracula” maintains the visual style characteristic of Hammer horror films, featuring lavish and colorful production design, a Gothic atmosphere, and the studio’s signature approach to horror.
Despite the absence of Count Dracula, the film is considered an important entry in the Hammer Films catalog and the broader vampire genre. It demonstrates the studio’s ability to craft compelling vampire-themed horror even without Christopher Lee’s Dracula.
Upon its release, the film received generally positive reviews and has since garnered a cult following. It is appreciated for its atmospheric storytelling and Peter Cushing’s performance as Van Helsing.
Blood and Roses (1960)
“Blood and Roses” is a 1960 French-Italian horror film directed by Roger Vadim. The film is loosely based on the classic novella “Carmilla” by Sheridan Le Fanu, which predates Bram Stoker’s “Dracula” and is one of the earliest works of vampire fiction.
The film is set in a modern-day European village and follows the lives of two cousins, Carmilla and Leopoldo. Carmilla falls under the spell of an ancient vampire ancestor, and her transformation into a vampire leads to a series of mysterious deaths and a growing sense of dread in the village.
“Blood and Roses” explores themes of forbidden desire, vampirism, and the supernatural. It delves into the sensual and erotic aspects of the vampire legend, which was a hallmark of director Roger Vadim’s style.
The film is known for its lush and visually striking cinematography, which creates a dreamlike and eerie atmosphere. It features Gothic imagery and symbolism that add to the film’s mood.
“Blood and Roses” received mixed reviews upon its release, with some praising its atmospheric qualities and sensuality, while others found fault with the storytelling. Over the years, it has gained a cult following and is appreciated for its unique take on vampire mythology.
“Blood and Roses” is a notable entry in the realm of vampire cinema due to its connection to Sheridan Le Fanu’s “Carmilla” and its exploration of sensuality and desire within the vampire genre. While it may not be as well-known as some other vampire films, it remains an intriguing and visually captivating work for fans of the genre.
Black Sunday (1960)
“Black Sunday,” is a 1960 Italian gothic horror film directed by Mario Bava. The film is considered a classic of Italian horror cinema and is known for its atmospheric and eerie visuals.
The plot is set in 17th-century Moldavia and follows the story of Princess Asa Vajda and her lover Javuto, both played by Barbara Steele. They are accused of witchcraft and sentenced to death by the Inquisition. Asa is branded with a mask of Satan and buried alive. Two centuries later, Asa and Javuto return from the dead to seek revenge on Asa’s descendants.
“Black Sunday” explores themes of forbidden desire, vampirism, and the supernatural. It delves into the sensual and erotic aspects of the vampire legend, which was a hallmark of director Mario Bava’s style.
The film is known for its lush black-and-white cinematography and Gothic imagery. Mario Bava’s direction and use of lighting create a haunting and atmospheric mood that has left a lasting impact on the horror genre.
Barbara Steele’s dual role as the virtuous Katia and the malevolent Asa adds to the film’s allure and her status as a cult horror icon.
“Black Sunday” is often regarded as a classic of Italian horror cinema and a precursor to the giallo genre. It influenced numerous filmmakers and is praised for its combination of horror, gothic romance, and visual artistry.
Upon its release, “Black Sunday” faced censorship and controversy due to its gruesome content. However, it has since gained recognition and is highly regarded by horror enthusiasts and film scholars.
“Black Sunday” is a landmark in the history of horror cinema, known for its influential visuals, Gothic atmosphere, and Barbara Steele’s iconic performance. It remains a beloved classic of Italian horror and has left an enduring mark on the genre.
Black Sabbath (1963)
“Black Sabbath” is a 1963 Italian-French horror anthology film directed by Mario Bava. The film consists of three separate horror stories and is known for its contributions to the horror genre.
Here are some key details about “Black Sabbath”:
The Telephone: The film opens with a segment titled “The Telephone,” in which a woman named Rosy (played by Michèle Mercier) receives threatening phone calls from an anonymous caller. This story combines elements of psychological thriller and horror.
The Wurdalak: The second segment, “The Wurdalak,” is based on a story by Aleksei Tolstoy. It is set in 19th-century Russia and follows a man who encounters a family plagued by a curse that turns them into vampires known as wurdalaks. Boris Karloff stars in this segment.
The Drop of Water: The final segment, “The Drop of Water,” is a supernatural tale about a nurse who steals a valuable ring from a deceased medium and faces terrifying consequences for her actions.
“Black Sabbath” showcases Mario Bava’s signature atmospheric and visually striking cinematography. Each segment has its own unique visual style, contributing to the film’s overall impact.
“Black Sabbath” was released in different versions in various countries. The film was initially criticized for its violence and received mixed reviews upon release. However, it has since gained recognition as a classic of Italian horror cinema and is celebrated for its anthology format and Bava’s direction.
Despite its initial reception, “Black Sabbath” has become a cult classic and is appreciated for its contributions to the horror genre. It remains an influential and respected work within the world of horror cinema.
The Last Man in the Earth (1964)
“The Last Man on Earth” is a 1964 Italian-American science fiction horror film directed by Ubaldo Ragona and Sidney Salkow. The film is based on Richard Matheson’s 1954 novel “I Am Legend” and is notable for its portrayal of a post-apocalyptic world overrun by vampires.
The plot is set in a future where a pandemic has turned most of humanity into vampire-like creatures. The story follows Dr. Robert Morgan, played by Vincent Price, who believes himself to be the last uninfected human survivor. During the day, he hunts and kills the vampire creatures. At night, he barricades himself in his home to protect himself from their attacks. The film explores themes of isolation, survival, and the line between humanity and monstrosity.
Vincent Price’s performance as Dr. Robert Morgan is a central aspect of the film. His portrayal of a lonely and tormented survivor adds depth to the character and the story.
“The Last Man on Earth” is one of the earliest film adaptations of Richard Matheson’s novel and has had a lasting impact on the zombie and post-apocalyptic genres. It also served as an inspiration for later films like “Night of the Living Dead.”
The film received mixed reviews upon its release but has since gained a cult following and is considered a classic of science fiction horror. It’s appreciated for its atmospheric and desolate portrayal of a world in decay.
“The Last Man on Earth” was followed by other adaptations of Matheson’s novel, including “The Omega Man” (1971) starring Charlton Heston and “I Am Legend” (2007) starring Will Smith.
Overall, “The Last Man on Earth” is a significant entry in the realm of post-apocalyptic and vampire-themed horror, known for its atmospheric storytelling and Vincent Price’s memorable performance.
Planet of Vampires (1965)
“Planet of the Vampires” is a 1965 Italian-Spanish science fiction horror film directed by Mario Bava. The film is known for its eerie and atmospheric visuals and has had an influence on the science fiction and horror genres.
Plot: The story is set in a distant future where two spaceships, the Galliott and the Argos, are sent to investigate a distress signal from an unexplored planet. Upon landing, the crew members of both ships discover that the planet is inhabited by a malevolent force that can possess and control their bodies. They must fight for their survival against these unseen entities.
Visual Style: “Planet of the Vampires” is celebrated for its striking and surreal visuals. Mario Bava, known for his skill in creating atmospheric cinematography, infuses the film with a sense of otherworldly dread. The film’s use of color and set design adds to its unique visual appeal.
Influence: The film’s eerie atmosphere and imaginative design have had a lasting impact on the science fiction and horror genres. It has been noted as an inspiration for later science fiction works, including Ridley Scott’s “Alien.”
Reception: “Planet of the Vampires” received mixed reviews upon its release, with some critics praising its visual style and others finding fault with the story. Over time, it has gained recognition as a cult classic and is appreciated for its visual artistry.
While the film’s title may suggest a traditional vampire story, “Planet of the Vampires” is a unique and atmospheric science fiction horror film that offers a different take on the genre. It remains a notable entry in the works of Mario Bava and has left a lasting impact on cinematic science fiction and horror.
Dracula: Prince of Darkness (1966)
“Dracula: Prince of Darkness” is a 1966 British horror film directed by Terence Fisher and produced by Hammer Film Productions. It is part of Hammer’s series of Dracula films and serves as a direct sequel to the 1958 film “Horror of Dracula.”
Plot: The film begins with a prologue that recaps the demise of Count Dracula in the previous film. A group of travelers arrives at Castle Dracula and, despite warnings, they spend the night there. One of the travelers is killed, and his blood is used to resurrect Count Dracula (played by Christopher Lee), who returns to his vampiric existence. The rest of the film follows the group’s efforts to survive and combat the revived Dracula.
Christopher Lee: Christopher Lee reprises his role as Count Dracula in this film. His portrayal of the iconic vampire solidified his status as a horror legend.
Hammer Films: “Dracula: Prince of Darkness” maintains Hammer’s signature style, characterized by lavish production design, Gothic atmosphere, and an emphasis on horror elements. The film features the studio’s classic approach to the Dracula mythos.
Reception: The film received generally positive reviews upon its release and is considered one of the notable entries in Hammer’s Dracula series. It contributed to the resurgence of interest in Dracula and vampires in popular culture during the 1960s.
Legacy: “Dracula: Prince of Darkness” is a significant installment in Hammer’s Dracula series and is followed by several more films featuring Christopher Lee as the vampire count.
Overall, “Dracula: Prince of Darkness” is a classic British horror film known for Christopher Lee’s portrayal of Dracula and its contribution to the Hammer Films legacy in the horror genre.
The Fearless Vampire Killers (1967)
“The Fearless Vampire Killers,” also known as “Dance of the Vampires” in some regions, is a 1967 film written and directed by Roman Polanski. The film is a horror-comedy that blends elements of vampirism with Polanski’s signature dark humor.
Plot: The film is set in a village in Eastern Europe and follows the adventures of a vampire-hunting professor, Professor Abronsius (played by Jack MacGowran), and his assistant, Alfred (played by Roman Polanski). They journey to the village in search of evidence proving the existence of vampires. Once in the village, they become embroiled in a series of bizarre and spooky events that lead them to confront a vampire family.
Style: The film is known for its distinctive visual style and Polanski’s dark humor. It combines comedic moments with suspenseful and horror scenes, creating a unique atmosphere that draws from both horror and comedy genres. The cinematography of the film has been praised for its visual beauty, with snowy landscapes and gothic interiors contributing to a captivating atmosphere.
Legacy: “The Fearless Vampire Killers” was not a major box office success upon its release, but over the years, it has gained a cult following among horror film enthusiasts and fans of Roman Polanski. The film is noted for its blending of comedic and horror elements, and some consider it a milestone in genre cinema.
A tragic aspect of the film’s history is that Sharon Tate, one of the lead actresses, was tragically murdered in 1969 by members of the Charles Manson cult, further adding to the film’s significance in cinema history.
Dracula Has Risen From the Grave (1968)
“Dracula Has Risen from the Grave” is a 1968 British horror film directed by Freddie Francis and produced by Hammer Film Productions. It is part of the series of Dracula films produced by Hammer and stars Christopher Lee as Count Dracula. Here’s more information about the film:
Plot: The story picks up after the events of the previous film, “Dracula: Prince of Darkness.” It begins with a monsignor and his assistant traveling to a small European village. They discover that the local priest has been performing rituals to keep Count Dracula imprisoned in his castle. When a local baker accidentally spills blood on Dracula’s icy grave, the vampire is resurrected and begins to terrorize the village.
Style: “Dracula Has Risen from the Grave” is characteristic of Hammer Horror films, known for their gothic atmosphere, vivid color, and emphasis on blood and gore. Christopher Lee’s portrayal of Dracula is a standout feature, and his commanding presence as the vampire lord is a defining element of the film.
Legacy: The film is considered one of the better entries in Hammer’s Dracula series and is notable for Christopher Lee’s performance as Dracula. It received a generally positive reception from both critics and audiences and contributed to the enduring popularity of Hammer Horror films.
Overall, “Dracula Has Risen from the Grave” is a classic entry in the Dracula film series, featuring Christopher Lee in one of his most iconic roles and showcasing the distinctive style of Hammer Horror productions.
Home of Dark Shadows (1970)
“Home of Dark Shadows” is a 1970 film based on the popular television soap opera “Dark Shadows,” which aired in the United States from 1966 to 1971. The film was produced by Metro-Goldwyn-Mayer (MGM) and directed by Dan Curtis, the same creator of the original TV series.
Plot: The film closely follows the storyline of the “Dark Shadows” television soap opera. It primarily focuses on the story of Barnabas Collins, a vampire played by Jonathan Frid, and his interactions with the Collins family, including David Collins (played by David Henesy) and Victoria Winters (played by Alexandra Moltke).
The plot revolves around Barnabas Collins’ return after a long absence and his quest to reclaim a lost love. Throughout the film, family secrets, vendettas, and dark revelations come to light.
Style: “Home of Dark Shadows” features the same melodramatic and gothic style that made the original soap opera so popular. The plot contains elements of mystery, drama, and the supernatural, with the added benefit of a cinematic budget that allowed for more advanced special effects compared to the TV series.
Legacy: The film received a generally positive reception from fans of the “Dark Shadows” TV series and is considered a faithful adaptation of the source material. However, it did not achieve extraordinary success at the box office and did not spawn a series of cinematic sequels.
Over the years, “Dark Shadows” has remained a cult favorite and has influenced several subsequent productions in the horror and supernatural genres. In 2012, a separate cinematic adaptation of “Dark Shadows” was made, directed by Tim Burton and featuring Johnny Depp in the role of Barnabas Collins.
The Vampire Lovers (1970)
“The Vampire Lovers” is a 1970 British horror film directed by Roy Ward Baker and produced by Hammer Film Productions. It is part of the Karnstein Trilogy, a series of films by Hammer that focused on the Karnstein family and their vampiric tendencies. Here’s more information about the film:
Plot: “The Vampire Lovers” is loosely based on J. Sheridan Le Fanu’s 1872 novella “Carmilla.” The film follows the story of a female vampire named Carmilla Karnstein, portrayed by Ingrid Pitt. Carmilla preys on young women, forming romantic and deadly relationships with them. The film explores themes of lesbianism and vampirism as it follows Carmilla’s encounters with various victims and her eventual pursuit by vampire hunters.
Style: “The Vampire Lovers” is a Hammer Horror film, known for its gothic atmosphere, eroticism, and emphasis on blood and seduction. The film is notable for its depiction of female vampires and its exploration of sexuality, which was considered quite daring for its time.
Legacy: “The Vampire Lovers” is a cult classic and is considered one of the more notable entries in Hammer’s horror catalog. It played a role in the revitalization of vampire-themed films in the early 1970s and has retained a dedicated fanbase over the years.
The success of “The Vampire Lovers” contributed to the popularity of Hammer Horror films during that era, and it remains a significant film in the history of vampire cinema. It also set the stage for further films in the Karnstein Trilogy, including “Lust of the Vampire” (1971) and “Twins of Evil” (1971).
Scars of Dracula (1970)
“Scars of Dracula” is a 1970 British horror film produced by Hammer Film Productions and directed by Roy Ward Baker. It is part of the series of Dracula films produced by Hammer and features Christopher Lee reprising his iconic role as Count Dracula. Here’s more information about the film:
Plot: “Scars of Dracula” picks up with the return of Count Dracula (played by Christopher Lee). The film begins with the discovery of Dracula’s castle by a group of travelers, including a young man named Paul Carlson (played by Christopher Matthews). As they explore the castle, they unwittingly release the vampire, leading to a new reign of terror in the nearby village. Dracula is determined to take revenge on those who dared to enter his castle.
Style: “Scars of Dracula” is typical of Hammer Horror films, known for their gothic atmosphere, vivid color, and emphasis on blood and gore. Christopher Lee’s portrayal of Dracula is a standout feature, and his commanding presence as the vampire lord is a defining element of the film.
Legacy: The film is considered one of the better entries in Hammer’s Dracula series and is notable for Christopher Lee’s performance as Dracula. It received a generally positive reception from both critics and audiences. “Scars of Dracula” contributed to the enduring popularity of Hammer Horror films and solidified Christopher Lee’s status as one of the most iconic actors to portray Dracula on screen.
Overall, “Scars of Dracula” is a classic entry in the Dracula film series, featuring Christopher Lee in one of his most memorable performances as the legendary vampire.
Countess Dracula (1971)
“Countess Dracula” is a 1971 British horror film directed by Peter Sasdy and produced by Hammer Film Productions. Although it is not part of Hammer’s Dracula series, the film is loosely inspired by the historical figure Elizabeth Báthory, a Hungarian noblewoman who is infamous for her alleged acts of torture and murder. Here’s more information about the film:
Plot: “Countess Dracula” is a fictionalized account of the life of Countess Elizabeth Nádasdy (played by Ingrid Pitt), who, after bathing in the blood of virgins, discovers that it restores her youth and beauty. She adopts the identity of her own daughter to maintain her facade and continues her gruesome activities. The film follows her exploits, including her pursuit of a young man named Imre (played by Sandor Elès), with whom she becomes romantically involved.
Style: “Countess Dracula” is a Hammer Horror film that explores themes of vanity, obsession, and the macabre. It delves into the horror genre with its depiction of the countess’s gruesome acts and the consequences that follow.
Legacy: While “Countess Dracula” is not as well-known as some other Hammer Horror films, it has gained a cult following over the years. Ingrid Pitt’s performance as the title character is often praised for her portrayal of the countess’s descent into madness. The film remains notable for its exploration of the legend of Elizabeth Báthory and its unique approach to the vampire theme, focusing more on blood as a rejuvenating element rather than traditional vampiric traits.
Overall, “Countess Dracula” stands as a unique entry in the Hammer Horror catalog, offering a different take on the vampire legend by drawing inspiration from a historical figure known for her dark deeds.
Dracula AD 1972 (1972)
“Dracula AD 1972” is a 1972 British horror film directed by Alan Gibson and produced by Hammer Film Productions. It’s part of Hammer’s Dracula series and features Christopher Lee reprising his role as Count Dracula. However, this installment takes a unique twist by setting the story in contemporary (at the time) London. Here’s more information about the film:
Plot: The film begins in 1872 when Count Dracula (Christopher Lee) faces off against Van Helsing (Peter Cushing). Both characters meet their demise during a horse-drawn carriage chase, ending up impaled on wooden spokes. Fast forward to 1972, where a group of young adults, including Jessica Van Helsing (played by Stephanie Beacham) and Johnny Alucard (played by Christopher Neame), inadvertently resurrect Count Dracula through a black magic ritual. Dracula quickly resumes his thirst for blood in modern-day London, and the film follows the efforts of Jessica Van Helsing and others to stop him.
Style: “Dracula AD 1972” is notable for its early 1970s setting and a more contemporary approach compared to other Hammer Dracula films. It incorporates elements of the counterculture and youth culture of the time. The film combines Hammer’s signature gothic atmosphere with a touch of modernity.
Legacy: “Dracula AD 1972” is regarded as one of the more unique entries in Hammer’s Dracula series, primarily due to its modern-day London setting. It marked an attempt to update the Dracula legend to a contemporary context, reflecting the changing cultural landscape of the early 1970s. While it received mixed reviews upon release, it has gained a cult following over the years for its distinctive style and time capsule-like portrayal of the era.
Christopher Lee’s portrayal of Dracula and Peter Cushing’s return as Van Helsing add to the film’s appeal for fans of the Hammer Horror series. Despite its mixed critical reception, “Dracula AD 1972” remains an intriguing and memorable installment in the Dracula franchise.
Vampire Circus (1972)
“Vampire Circus” is a 1972 British horror film directed by Robert Young. The film is known for being one of the most distinctive and unique entries in the vampire genre, with its gothic and surreal atmosphere.
The plot of “Vampire Circus” revolves around a small Eastern European village that has been cursed by a vampire family centuries ago. When a plague begins to spread in the village, a mysterious circus troupe suddenly arrives in town. The troupe consists of exceptionally talented and eccentric performers but also hides a dark secret. Its members are actually vampires who intend to exact revenge on their family’s behalf and continue to feed on the village’s blood.
The film is known for its graphic and suggestive murder sequences, with a mix of eroticism and violence that was unusual for its time. Director Robert Young created an atmosphere of suspense and terror through the use of gothic settings, special effects, and an evocative soundtrack.
“Vampire Circus” is considered a cult film among horror movie enthusiasts and offers a unique approach to the vampire myth by blending the world of the circus with the supernatural. If you’re a fan of horror films, you may find “Vampire Circus” to be an intriguing and different experience from the usual vampire movies.
The Satanic Rites of Dracula (1973)
“The Satanic Rites of Dracula” is a 1973 British horror film directed by Alan Gibson. The movie is notable for being one of the later entries in the Hammer Horror series, which was known for its classic horror films featuring iconic monsters like Dracula and Frankenstein’s creature.
In “The Satanic Rites of Dracula,” Christopher Lee reprises his role as Count Dracula, and Peter Cushing returns as Professor Van Helsing. This film marks one of the later appearances of these legendary actors in their iconic roles.
The plot revolves around Dracula’s resurrection in modern-day London, where he seeks to spread a deadly plague and create a new world order with the help of a Satanic cult. Professor Van Helsing becomes aware of Dracula’s return and, along with a group of allies, tries to stop the vampire’s nefarious plans.
“The Satanic Rites of Dracula” is notable for blending elements of vampire horror with a more contemporary setting, including elements of espionage and conspiracy. It reflects the era’s fascination with occult themes and conspiracy theories. While not considered one of the strongest entries in the Hammer Horror series, it still has a following among fans of classic horror cinema, largely due to the presence of Christopher Lee and Peter Cushing in their iconic roles.
If you enjoy classic horror films and are a fan of the Hammer Horror series, “The Satanic Rites of Dracula” is worth checking out for its unique take on the Dracula mythos within a modern context.
The Legend of the 7 Golden Vampires (1974)
“The Legend of the 7 Golden Vampires” is a 1974 British-Hong Kong co-production that combines elements of vampire horror and martial arts action. This film is part of the Hammer Horror series and was a joint project between Hammer Films and the Shaw Brothers Studio in Hong Kong.
The plot of the movie revolves around Professor Van Helsing, portrayed by Peter Cushing, who is invited to China to help a group of martial artists battle a clan of ancient Chinese vampires led by the evil Count Dracula, played by John Forbes-Robertson. These vampires are after seven golden masks that are believed to possess supernatural powers.
The film features a unique blend of Gothic horror and kung fu action, making it stand out from traditional Hammer Horror films. The Hong Kong elements of the movie are characterized by intricate martial arts choreography, while the Hammer Horror elements are represented by Peter Cushing’s portrayal of Van Helsing and the vampire lore.
“The Legend of the 7 Golden Vampires” is notable for its cross-cultural fusion and the juxtaposition of Eastern and Western storytelling and cinematic styles. It offers a distinctive and somewhat campy take on the vampire genre and has developed a cult following over the years.
If you’re a fan of martial arts action and classic horror with a unique twist, “The Legend of the 7 Golden Vampires” is worth checking out for its entertaining blend of two different cinematic traditions.
Captain Kronos (1974)
“Captain Kronos: Vampire Hunter” is a 1974 British horror film directed by Brian Clemens. The film is part of the vampire film genre and is known for its unique approach to the genre.
The plot revolves around the character of Captain Kronos, played by Horst Janson, a vampire hunter who travels with his friend and fellow vampire hunter, Professor Hieronymus Grost, played by John Cater. Together, they visit a village plagued by a series of mysterious murders and discover that a family of vampires has taken root in the area. However, these vampires differ from traditional stereotypes; they are not the undead but rather evil individuals with supernatural powers.
The film is distinctive for its setting in an undefined historical period that blends elements of the Victorian and Gothic eras. Captain Kronos is an unusual character within the vampire hunter genre, as he is young and athletic, contrary to the traditional image of an elderly vampire hunter.
“Captain Kronos: Vampire Hunter” has become a cult film among horror movie enthusiasts due to its unique approach and intriguing storyline. It offers a fresh and original take on the vampire genre, challenging traditional conventions and providing a compelling plot with a healthy dose of action and mystery.
If you’re interested in vampire films and are looking for something different from the genre’s standard fare, “Captain Kronos: Vampire Hunter” is a film worth considering.
Deafula (1975)
“Deafula” is a unique and unconventional film released in 1975. Directed by Peter Wechsberg, it’s often considered one of the earliest examples of a “deafsploitation” film, a subgenre of exploitation cinema that focuses on deaf or hearing-impaired characters and often uses their disability as a central plot point.
The film tells the story of a deaf man named Leon, played by Peter Wechsberg himself, who is also deaf in real life. Leon begins to experience bizarre dreams and visions, which lead him to believe that he is a vampire. As the story unfolds, he struggles with his newfound vampiric nature and tries to come to terms with his condition.
“Deafula” is known for its unusual and low-budget production, including the use of American Sign Language (ASL) as the primary means of communication among the deaf characters. It’s also noteworthy for its campy and sometimes unintentionally humorous moments. The film has gained a cult following over the years, partly due to its unique concept and execution.
While “Deafula” may not be a traditional horror film, it remains a curiosity in the world of cinema for its portrayal of a deaf vampire and its contribution to the “deafsploitation” subgenre. If you’re interested in unconventional and obscure films, “Deafula” might be worth exploring.
The Omega Man (1971)
“The Omega Man” is a 1971 American science fiction film directed by Boris Sagal and based on Richard Matheson’s 1954 novel “I Am Legend.” The film stars Charlton Heston in the lead role and is set in a post-apocalyptic world where a deadly plague has wiped out most of humanity.
In “The Omega Man,” Charlton Heston plays Dr. Robert Neville, a scientist who appears to be the last man on Earth after a biological war between China and the Soviet Union has devastated the world’s population. Neville’s only companions in the desolate city of Los Angeles are a group of mutant survivors known as “The Family,” who are afflicted by a disease that has turned them into light-sensitive albino beings. Neville, immune to the plague, becomes a target for the Family and must fend them off while working to find a cure for the disease.
The film explores themes of isolation, survival, and the effects of technology and warfare on humanity. It also delves into the psychological toll of being the last person on Earth.
“The Omega Man” is considered a classic of science fiction cinema and is one of several film adaptations of Matheson’s novel. Charlton Heston delivers a memorable performance in the lead role, and the film’s portrayal of a post-apocalyptic world and its exploration of the nature of humanity make it a notable entry in the genre. If you’re a fan of science fiction or dystopian films, “The Omega Man” is definitely worth a watch.
Rabid (1977)
“Rabid” is a 1977 Canadian horror film written and directed by David Cronenberg, one of the most renowned directors in the body horror genre. The film is known for its disturbing plot and Cronenberg’s unique approach to horror.
The plot of “Rabid” revolves around a young woman named Rose, played by Marilyn Chambers, who becomes involved in a serious car accident. After undergoing experimental skin graft surgery, she develops a strange thirst for blood and a protrusion under her armpit. She discovers that this protrusion is actually a stinger-like organ that grows, allowing her to feed on the blood of her victims. This bloodthirstiness leads her to become a vampire.
The film explores themes such as the corruption of the body, experimental medicine, and the destructive power of a thirst for blood. Cronenberg’s direction is characterized by disturbing imagery and a constant sense of tension, contributing to the creation of an unsettling atmosphere.
“Rabid” is a notable example of David Cronenberg’s filmmaking and the body horror genre, which is marked by grotesque bodily transformations and a unique take on horror. The film has been appreciated by horror enthusiasts for its originality and disturbing impact and continues to be a cult favorite in the world of horror cinema.
Martin (1977)
“Martin” is a 1977 American horror film written and directed by George A. Romero, best known for his work on the “Night of the Living Dead” series. “Martin” is a departure from the typical zombie horror genre that Romero is known for and instead delves into the psychological and social aspects of horror.
The film tells the story of a young man named Martin, played by John Amplas, who believes he is a vampire. He comes to live with his elderly cousin Cuda, who is convinced that Martin is a real vampire and tries to destroy him using traditional vampire hunting methods. However, Martin’s condition is ambiguous, and the film explores whether he is truly a vampire or simply suffering from a severe psychological disorder.
“Martin” is a character-driven horror film that delves into themes of alienation, isolation, and the blurred lines between reality and delusion. The film presents Martin’s internal struggles as he grapples with his supposed vampiric nature and the consequences of his actions.
George A. Romero’s “Martin” is often regarded as a cult classic and is celebrated for its unconventional take on the vampire mythology and its thought-provoking exploration of mental illness and societal isolation. If you’re interested in horror films that challenge traditional conventions and delve into the human psyche, “Martin” is a film worth exploring.
Nosferatu: Phantom of the Night (1979)
Jonathan Harker is a real estate representative in Wismar, Germany. His company, Renfield, informs him that a nobleman called Count Dracula wants to buy residential property in Wismar and tasks Harker with going to the Count and completing the sale. Leaving his young wife Lucy in Wismar, Harker takes a trip to Transylvania, to Count Dracula’s castle, which lasts 4 weeks, brings with him the documents and deeds necessary to sell the house to the Count.
During his journey, Harker stops at a town inn, where the residents advise him to stay away from the cursed castle, providing him with information about Dracula’s vampirism. Dismissing the villagers’ pleas as a superstitious notion, Harker continues on his journey.
Werner Herzog recreates the cornerstone of vampire cinema and the expressionist cinema German through an ever-growing nightmare of shocking and disjointed scenes. The fact that Klaus Kinski also plays Count Dracula means that madness is borderline every line of chiaroscuro: Nosferatu revels in the beauty of horror. Here is a film that honors the art cinema and the seriousness of vampires.
Salem’s Lot (1979)
“Salem’s Lot” is a 1979 television film based on Stephen King’s horror novel of the same name, which was published in 1975. The film was directed by Tobe Hooper and is one of the early cinematic adaptations of Stephen King’s works.
The plot of “Salem’s Lot” revolves around a young horror novelist, Ben Mears, played by David Soul, who returns to his hometown of Salem’s Lot, Maine, to write a book about the haunted house of his childhood. He discovers that the town has been infested by vampires and must join forces with other residents to combat this supernatural threat.
The film is known for its dark and eerie atmosphere and its portrayal of vampires, which deviates from traditional conventions. James Mason’s performance as Richard Straker, the assistant to the main vampire, is particularly memorable.
“Salem’s Lot” was well-received by Stephen King fans and helped establish director Tobe Hooper’s reputation in the horror genre. The film was followed by a television miniseries in 2004 and remains one of the most appreciated cinematic adaptations of Stephen King’s works. If you’re a fan of Stephen King and supernatural horror, “Salem’s Lot” is a title worth considering.
Love at First Bite (1979)
“Love at First Bite” is a 1979 American comedy horror film directed by Stan Dragoti. The film is a spoof of vampire lore and the romantic aspects of the Dracula legend, blending humor with horror elements.
The movie stars George Hamilton as Count Dracula, who becomes infatuated with a modern New York woman named Cindy Sondheim, played by Susan Saint James. Dracula relocates to New York City in pursuit of his love interest but faces numerous comedic challenges and misunderstandings as he tries to adapt to contemporary American life.
“Love at First Bite” plays on the contrast between the traditional, gothic image of Dracula and the vibrant, fast-paced world of 1970s New York City. The film is known for its humor and campy style, with George Hamilton portraying Dracula as a charming, suave, and somewhat clueless vampire.
While “Love at First Bite” is primarily a comedy, it also incorporates horror elements and references to classic vampire lore. The film became a cult classic and is often remembered for its lighthearted take on the vampire genre. If you enjoy comedic horror films and parodies, “Love at First Bite” is a film that offers a playful and entertaining spin on the Dracula legend.
Dracula (1979)
“Dracula” is a 1979 British-American horror film directed by John Badham. The film is a faithful adaptation of Bram Stoker’s classic novel “Dracula” and features a notable cast, including Frank Langella as Count Dracula, Laurence Olivier as Professor Abraham Van Helsing, and Kate Nelligan as Lucy Seward.
This version of “Dracula” follows the traditional plot of the novel, with Count Dracula traveling from Transylvania to London, where he preys on the innocent Lucy and attempts to establish a new bloodline through her. Professor Van Helsing becomes aware of Dracula’s presence and joins forces with Lucy’s fiancé, Jonathan Harker, to confront the vampire and save Lucy.
The film is known for its sumptuous Gothic atmosphere and Frank Langella’s charismatic and sensual portrayal of Count Dracula. Unlike some earlier adaptations, this version emphasizes the romantic and seductive aspects of the vampire, making Dracula a more complex and sympathetic character.
“Dracula” (1979) received positive reviews for its faithfulness to the source material and its strong performances, particularly Langella’s. It also helped revive interest in vampire movies during the late 1970s and early 1980s, paving the way for the resurgence of vampire-themed films and TV series in later decades.
If you’re a fan of classic vampire stories and Gothic horror, “Dracula” (1979) is a film worth watching for its faithful adaptation and strong performances, particularly from Frank Langella as the iconic vampire.
Thirst (1979)
“Thirst” is a 1979 Australian horror film directed by Rod Hardy. The movie combines elements of horror and science fiction and is notable for its unique take on the vampire genre.
The film’s plot revolves around Kate Davis, played by Chantal Contouri, a young woman who believes she’s the last surviving member of a vampire cult. She is abducted and subjected to a series of scientific experiments conducted by a secret organization that seeks to understand and control vampirism. Kate’s captors hope to use her unique condition to their advantage.
“Thirst” explores themes of identity, control, and the blurred lines between science and the supernatural. It delves into the psychological and emotional struggles of its protagonist as she grapples with her vampiric nature and her captors’ attempts to exploit it.
The film takes a more cerebral approach to the vampire mythos, and it’s known for its thought-provoking narrative and social commentary. “Thirst” is considered a cult classic within the horror genre and is appreciated for its originality and the way it subverts traditional vampire tropes.
If you’re interested in vampire films that offer a unique and thought-provoking perspective on the genre, “Thirst” is a film worth exploring.
Lifeforce (1985)
The Space Shuttle Churchill team, under the command of Colonel Tom Carlsen, discover a 150-mile (240-kilometer) long spacecraft hidden near Halley’s Comet. Inside, the team discovers thousands of desiccated bat-like animals and 3 naked humanoid bodies (2 men and a woman) inside glass containers. The staff recover an alien bat as well as the 3 bodies and begin their journey back to Earth.
Even if he is a classic horror director, Tobe Hooper of Texas Chainsaw Massacre is not quite the director for a sci-fi movies about the wacky vampires of the 80s. Hooper abandons the grimy aesthetic of his previous work and plays deftly with the old conventions of the vampire genre, keeping some references to bats but abandoning the bloodsuckers. Rather, “space vampires” have been upgraded into more cerebral and aloof killers that drain people of their life energy.
Fright Night (1985)
17-year-old Charley Brewster is a fan of a horror TV show calledFright Night , led by former vampire hunter Peter Vincent. One evening, Charley discovers that his new neighbor Jerry Dandrige is a vampire responsible for the disappearance of several victims. After telling his mother, Charley enlists the help of his girlfriend, Amy Peterson, and his friend, “Evil Ed” Thompson, before contacting the authorities. Detective Lennox goes with Charley to Jerry’s house to question him, however his “roommate” Billy Cole informs them that Jerry is “in the company”. That night, Charley is surprised to see Jerry inside his house, having been taken in by Charley’s mother. Jerry wrecks Charley’s vehicle in retaliation and threatens Charley on the phone.
I don’t think anyone will argue that the original Fright Night will ever stand next to the more classic 80’s horror movies but it’s still a very entertaining vampire film. Some of the makeup effects and dialogue are pure style horror movies from the 80s, the film goes on with its tongue-in-cheek approach as well as Sarandon’s breezy role as the vampire next door.
The Lair of the White Worm (1988)
Based on Bram Stoker’s much lesser known Dracula novel of the same name, the film stars Peter Capaldi as a Scottish archaeologist who inadvertently releases a vampiric serpent monster who begins to torment those responsible for the killing in a past life. Starring Amanda Donohoe and Hugh Grant in one of his first film roles, White Worm brings the signature and style of Ken Russell to the end of his filmography. Between a comedy and a monster movie, it’s a film that escapes classification.
Waxwork (1988)
After the opening of a wax museum, high school student China (Michelle Johnson) is invited to a Victorian dinner of raw meat and blood attended by a group of very attractive vampires. La China may become yet another victim of Waxwork’s strange take on sexual horror and masochism, epitomized by the fact that the Marquis De Sade was one of the world’s most famous psychopaths, but his terrifying experience is only the prelude to the final battle to the wax figures, in which Dracula finally comes to the real world, turns into a bat and is killed with a revolver. The 80s horror movies were a wonderful time for cinema.
Sundown: Vampire in Retreat (1989)
And while this vampire flick is certainly not a lost masterpiece, the film’s subsequent cult status is more than proof that there really was an audience for this offbeat western/horror/comedy hybrid. The film is set in a deserted city where a group of vampires have decided to live their eternal lives in peace and quiet. Things start to go awry after a human family becomes the catalyst for a civil war between vampires who wish to remain hidden and those who wish for a return to their predatory status.
Subspecies (1991)
The Subspecies series is a rather bizarre and curious series of films dedicated to vampires. The film was made by Full Moon Studios as one of the flagship series produced by the still prolific B-movie pundit Charles Band, a producer who deftly played a role a la Roger Corman in direct-to-video horror since the 1980s. This is exactly the kind of film you would have seen on the shelves of commercial video stores in 1993, a film that was very successful on the VHS standard, constantly rented by horror fans with low standards and a desire for homey fearful vision.
Bram Stoker’s Dracula (1992)
In 1462, Vlad Dracula returns from a successful campaign against the Ottoman Empire to find that his partner Elisabeta has committed suicide after her enemies falsely report her death. A priest informs him that his bride’s soul is damned to hell for having committed suicide. Furious, Vlad denies God of the chapel, stating that he will rise from the grave to avenge Elizabeth with all the powers of darkness.
Based on the 1897 gothic horror classic, Francis Ford Coppola’s unabashedly over-the-top adaptation is at times as laugh-worthy as it is impressive. Whether it’s Gary Oldman as the ruthless soulful vampire, Winona Ryder as her long lost love, or Anthony Hopkins as the equally legendary Dr. Van Helsing, nothing about the film or his performances is subtle. except Keanu Reeves.
Innocent Blood (1992)
Fresh off the success of her starring role in Luc Besson’s Nikita, French actress Anne Parillaud made her next appearance in John Landis’ action-horror vampire film as Marie, a vampire who kills and feasts only on criminals. One night, after a series of bad decisions, he ends up giving vampiric powers to a psychotic mob boss. As a film, Innocent Blood is pretty much a disaster, but, considering it mixes crime, horror and action drama, it’s a curious blend of genres to see.
Nadia (1994)
Count Arminius Chousescu Dracula dies and his little Nadja (Elina Löwensohn) truly believes that his death will surely free her from the life her father has imposed on her. Another installment in the vampire subgenre as an urban hipster, Nadja transplants the vampire myth intoHal Hartley. Produced by David Lynch, who also plays a cameo as a morgue worker, the film stands as an intimate drama with vampirism treated as casually as any other day-to-day activity. The film never quite reconciles these two notions, there are enough interesting visuals and skills at play to make this a must see vampire film.
Interview with the Vampire (1994)
Anne Rice’s 1976 gothic novel about bloodsuckers in Spanish Louisiana received epic big-screen treatment nearly two decades after its debut. A pre-teen, played by Kirsten Dunst, is a fire-breathing orphan turned immortal bloodsucker, while Antonio Banderas and Stephen Rea terrorize audiences in supporting roles. Director Neil Jordan, in collaboration with cinematographer Philippe Rousselot and production designer Dante Ferretti, captures their nocturnal existence with psychedelic colors and the light of lanterns, a cinematic universe that is still frozen in time.
The Addiction (1995)
Kathleen Conklin, an introverted college student arriving at New York University, is attacked one night by a woman who calls herself “Casanova”. He pushes Kathleen into a stairwell, bites her neck and drinks her blood. Kathleen finds in herself a number of hints of vampirism, consisting of hostility towards the day and disgust for food. She becomes aggressive in her attitude and proposes to her teacher to have sex in her apartment, taking money from his wallet while he sleeps. Being a philosophy student Kathleen takes her deteriorating condition as a cue for existential brooding. One of director Abel Ferrara’s best and most essential works.
The Night Flier (1997)
It follows a cynical tabloid reporter and quack as he searches for a serial killer he has dubbed the “nightflight,” a would-be vampire who flies from one small airport to another in his own personal plane/coffin, wantonly killing as he goes. Regardless, the “serial killer” obviously turns out to be a real vampire. He’s not on screen for long, but the highlight of the film is undoubtedly the gnarly design they chose for the monster: a big, long central tooth, combined with a cheap costume-store Dracula cape.
The Wisdom of Crocodiles (1998)
Jude Law plays Steven, a London vampire desperate for the right woman to share his life with. He eventually meets Anne, however, it soon becomes clear that their romance is bound to have an unhappy end. Notable for excluding several key aspects of vampire lore, such as Steven being able to receive sunlight, the film is an almost poetic and romantic take on the ordinary vampire story.
Vampires (1998)
In a film that tells the profound and lasting love story between two vampire hunters, John Carpenter has created a love letter to vampire cinema who also seems to hate vampire cinema. In Vampires, the creatures are ruthless, bestial, without the elegance or culture of those in an Anne Rice novel, simply bent on killing all humans with utmost ferocity. Along with his life partner, Anthony Montoya (Daniel Baldwin), Jack scours the American Southwest for agents of the devil, brutally killing them all, stabbing the vampires in the chest until each one is a mangled mush.
I Am Legend (2007)
A cure to cure cancer cells ends up being deadly, contaminating 99% of the world’s population, turning those it doesn’t eliminate directly into vampiric, albino and cannibal mutants called Darkseekers, who are very sensitive to sunlight and kill off surviving minorities. The vampires in this film do not retain many characteristics of classic vampires, except for their vulnerability to UV light. The best parts of the film are those that span the post-apocalyptic setting, as Will Smith searches and makes his way through an abandoned Manhattan with his faithful dog. Some excellent characterizations are set up during the first half of the film but eventually the story gets bogged down on the cliché of a bunch of wacky vampires attacking the protagonist’s house.
Daybreakers (2009)
Daybreakers takes its inspiration from the likes of Philip K. Dick as well as YA romance novels. Set in the near future where a vast plague has turned most of the world’s population into vampires, Ethan Hawke plays a scientist who must find a way to save the vampire race before their blood supply runs out. In the end, the good mostly trumps the bad, and given the lack of proper “sci-fi vampire movies,” it’s not an inconsiderable stock.
Thirst (2009)
Sang-hyun is a Catholic priest who volunteers at a hospital offering help to patients. He is highly regarded for his faith and devoted service, yet he secretly experiences feelings of doubt and unhappiness. Sang-hyun volunteers to take part in an experiment to discover a vaccine for the fatal Emmanuel Virus (EV). The experiment stops working and Sang-hyun is tainted with the seemingly deadly disease. He makes a quick and full recovery after receiving a blood transfusion. Thoughtful, brooding, grotesque and full of hope, Park Chan-Wook’s elegantly sad horror tale ultimately turns out to be a romantic thriller with a love triangle at its heart: between a vampire, a woman and their God.
Stake Land (2010)
Take Romero’s classic Day of the Dead, bring it to the surface, and replace the brain-eating undead with vampires. Jim Mickle’s vampire wasteland road trip is a genre film original. Like Mickle’s equally visually striking follow-up We Are What We Are, Stake Land is a good horror story for those who like to sink their teeth into spectacular cinematography.
Midnight Son (2011)
Jacob, the young man at the center of Scott Leberecht’s low-budget horror film has strange symptoms that manifest against his will: his skin burns in daylight and he is constantly hungry… could he be a vampire? Taking a page from George A. Romero’s Martin, Midnight Son explores the vampire mythos through a intimate drama of a character.
Byzantium (2012)
Ten years after bringing vampires to the forefront of pop culture with Anne Rice’s adaptation, Interview with a Vampire, the Irish director Neil Jordan returns to the world of leeches with the female-themed film Byzanzium. Starring Gemma Arterton and Saoirse Ronan as a vampire mother and daughter on the run, the film swaps the warm hues of New Orleans nightlife for the chilly expanse of a coastal Irish town. Predictably, the film’s main selling point emerges whenever Arterton and Ronan share the screen.
Only Lovers Left Alive (2013)
Married for centuries and separated by a great physical distance, 2 vampires wake up as the sun goes down. Adam sits holding a lute in his messy Victorian Detroit, while Eve wakes up in her bedroom in Tangier, surrounded by books. Instead of biting and killing people directly, they depend on suppliers of good quality blood, for the 21st century concern of contaminated blood from the environment.
Adam takes his partner on a twilight trip to Detroit, introducing her to the empty Packard factory, the once-wealthy estates now collapsing in on themselves, the house where Jack White grew up. The city where these 2 undead vampires reflecting on the history of a humanity that avoids them is itself a vampire wasteland. Jim Jarmusch chooses to bring its charming vampires to life in the shadows of Detroit’s endless night with an ingenious arthouse film, one of the best vampire films ever made.
Kiss of the Damned (2013)
Paolo, a screenwriter staying in Connecticut to write a film script, falls in love with Djuna (Joséphine de La Baume), only to discover that she is a vampire who lives by drinking the blood of animals. She admits it, then asks him to chain her up so she can show her. Paul is not afraid. He puts on the chains that bind her and joins her, receiving the “kiss of death” and becoming a vampire. Xan Cassavetes’ long-awaited follow-up to his excellent 2004 documentary, Z Channel: A Magnificent Obsession, proved to be something of a throwback to the flamboyant and sultry European vampire films of the 1970s.
From Sweet Blood of Jesus (2014)
A charming, if confusing, remake of the vampire cult classic, Ganja & Hess. Transplanting the original film into a modern setting, Lee tells the story of a wealthy black anthropologist who turns into a vampire after being stabbed by a cursed dagger. Running slightly above two hours, the film juggles all kinds of themes around addiction, gender, racism, and the politics of classism.
Summer of Blood (2014)
During a date night, Eric Sparrow (Onur Tukel) rejects a marriage proposal from his fiancée from Jody (Anna Margaret Hollyman). On their way home they bump into a college sweetheart of Jody’s, Jason (Jason Selvig), for whom Jody immediately dumps Eric. Left alone Eric meets a boy who does not have a fatal neck bleed.
In the late 90s, the independent director Onur Tukel scored his only success with the vampire drama Drawing Blood. Summer of Blood imagines what would happen if you dropped vampires in the middle of a Woody Allen-esque comedy. An intelligent and witty parody of modern life, Summer of Blood is one of the most interesting vampire comedies.
Bloodsucking Bastards (2015)
This vampire film’s sense of humor blends self-awareness and self-deprecation in equal measure, is enamored of monsters and mythology, and bends a handful of genres into a messy and contrived project of satire on the vampire universe. With Bloodsucking Bastards, director Brian O’Connell takes a bit more focused route: he drops the sweetness and emotion, goes straight for jokes and copious amounts of carnage.
Yakuza Apocalypse (2015)
One day, a gunslinging pastor and martial artist called Mad-Dog show up at Kamura’s community, where they behead Kamura and also wound his second-in-command Akira Kageyama. In his final minutes, Kamura’s death head attacks Kageyama, thus turning him into a vampire. With its combination of bombastic super-violence, slapstick and excess, this strange vampire film represents Miike at her most cartoonish. That said, you won’t find many other vampire movies that are so consistently unhinged.
Jakob’s Wife (2021)
Anne, married to a minister, feels her life has gone numb over the past 30 years. Meet “The Master” who brings her a new feeling of power and a desire to live bolder. Change comes with a bodily matter. More than just a vampire film, Jakob’s Wife is about a middle-aged married woman’s attempt to escape domesticity and the trappings of everyday life. Vampirism is often used as a metaphor for things like infection, power over others, sex, and more. It showcases a style that has never been seen before, portraying both a quiet, sad housewife and a powerful, confident vampire.
