Eternal life is the quest of mortals since, well, actually, eternity. The idea of how to live in order to see all the achievements of human society has spread to literature and folklore in different ways. Perhaps the most beloved tradition of eternal life was the vampire. The vampire is probably the most attractive because the vampire isn't much to envy, so it's not just a fantasy of fulfillment. To maintain eternal life, they must pierce the neck and suck the blood of a living person. During the day they cannot go outside. They can't even enter someone's house without being invited. It's a lonely existence that also retains the thrill of hunting and the thrill of keeping secrets.
25) Fear Night (1985)
Fright Night is a jubilant jack between cinema voyeurism Brian De Palma was refined in the early 80s, with films like Body double, blow away and Dressed to kill – and teen comedies that constantly pit less popular boys and girls against their seasoned counterparts. Oh, and it has a delightfully fun game. Roddy McDowell as an actor who kills vampires on TV and whom our teenagers ( William Ragsdale, Amanda Bears, Stephen Jefferies) are looking for, to defeat the suave vampire ( Chris Sarandon), who lives in the neighborhood, taunting them every night a new woman (victim) came.Tom HollandThe movie was better than the 2011 remake, but the original is a great time capsule that used horror as a link to adolescence and voyeurism.
24) Vampires (1998)
"Vampires" is the second best of the interesting but largely undramatic worksJohn Carpenter, demonstrates the kind of hard brand of bad review that other directors have tried to implement, but only a few of them have even swung.James Woods Jack Crow, leader of a gang of vampire assassins who are all but wiped out completely when they come across Jan Valek (The Karate Kid Part 3 'sThomas Ian Griffith), a powerful bloodsucker is looking for a talisman that will let him roam freely in the sunlight. There is no attempt to make Raven a role model. On the whole, there is not the slightest trace of sentimentality in the production, and it is this simplified, skeptical point of view that givesVampires its undeniable advantage. The film is well shot, with good use of gore and impressive action scenes, and has a solid cast that also includesMark Boone Jr., Sheryl Lee andMaximilian Schell. All this is great, but it's almost a textural feeling of Carpenter's mind at work in every frame, which makesvampires unique in a subgenre that so often seems simple.
23) Byzantium (2012)
Neil Jordan twice plunged into the vampire genre, and although his "Interview with a Vampire" is his most famous work, we pay tribute to his visually captivating yet frighteningly distant Byzantium. No matter how beautifulInterview and important for showing the eternal sadness of vampirism,Byzantium exposes more of his soul. This is one of the few films where vampires are shown not as blood suckers from the upper class, but as members of the lower class.
Told from the perspective of an eternally young vampireSaoirse Ronan), who preys only on those who are already on the verge of death, she writes about her vampire mother (Gemme Arterton) as about half tragic, half inspiring because she's a woman who could never develop beyond the world's oldest profession (selling her body), but also chose to become a vampire when it was reserved exclusively for men. Jordan's film is creepy, feminist, and a bit confusing. What Jordan excels at Byzantium, so it's in the artful display of gore - from decapitations, waterfalls and bandages - with a voyeuristic POV that doesn't look away. Blood has never looked so tempting - as does a vampire's desire to feast and bathe in it - than in this movie.
22) Thirst (2009)
fansPark Chan Wook, may have been stunnedThirst. Of course I was. After producing two of the best South Korean films ever made in the last few years, "Oldboy" and "Sympathy for Mr. Revenge", Chang Wook released "Lady Revenge", in which the violence continued, but critically, and the plot twists remained unpredictable. What has changed is the humor, which has become much more upbeat, bordering on lively, in "Lady Revenge".
This new tactic became part of his stylistic habits as a writer and director, andThirstit was the first time he felt he was pushing his style into an entirely new realm of thought and perspective. This tale of a sinful priest who turns into a bloodsucker and begins an enthusiastic, intense physical relationship with the woman he delights in is tonally bold as well as formally austere. Chang Wook's unpredictable editing has rarely had such a devastating effect on a linear narrative, but he is more patient than one might imagine. When a woman becomes more confident in her condition than a man, Lust becomes truly unsettling and frightening in depicting their sexual relationship. The result of all this is at once a crackling satire on gender roles and sexism, as well as a delightful, blood-soaked vampire story for the ages.
21) Real Ghouls (2014)
Finally someone breathed new life into the vampire genre!"What do we do in the shadows" is a mockumentary about four vampire flatmates, and it takes an utterly delightful approach to exploring creature clichés in a deadpan, reality-show-like manner. Viago (Taika Waititi), Vlad (Jemaine Clement), Deacon (Jonathan Brug) and Petyr (Ben Francham) - All of themrevolved in different time periods, leading to some brilliant twists on familiar issues such aswashing dishes, visiting nightclubs, adaptation to new technologies and much more. The only annoying thing aboutwhat do we do in the shade in that it only takes 86 minutes. Between the winning jokes and the wildly charming friendship between the characters, I'd love to watch an entire series about their antics.
20) Fear Night (2011)
It's (actually not all of it) time to voice mixed opinions! Although in the original"Nights of fear a lot of charm and humour, the movie overall is not the most entertaining vampire movie. It's like a sitcom, the game is strictly literate, and if there are scary scenes, I've missed them three times already, after different people insisted that I give a second chance. You cannot win them all.
This is another reason to praise the film remake.Craig Gillespiein which the deceasedAnton Yelchin stars (it's still not easy to type) as a young man who begins to suspect that his neighbor is a vampire. A vampireChris Sarandon was the best part of the original film and aggressive playful actingColin Farrell's the role of a vampire who wants to feel the taste of Yelchin's character's mother (Toni Collette) almost steals the whole movie, but Gillespie is too restless an artist to let that happen. He exhibits a dark brilliance that never fades into bleakness, working with plenty of magical hour lighting and night scenes that combine aesthetic beauty with elusive acts of horror. The director is also smart to give the film comedic relief through the magical manDavid Tennant, and Farrell rightly makes his vampire seduction skills the most notable power in his arsenal. In this version "Nights of Fear" it presents a shattering vision of what the planned community in which the movie takes place is trying to hide, which is a good, healthy arousal that could take your life under the right circumstances, or more accurately, if he skips feeding one day.
19) Ganja and Hess (1973)
Nothing on this list is even half as formally brash and politically vehement as a racially awakened vampire tale.Bill Gunn, set in the world of wealthy black Americans in the 1970s. The film, set primarily in the palace-like hermitage of Ganja (Marlene Clark), a wealthy widow, evokes a sense of sorcery, which is how the film captures the allure and sense of transformation that vampires go through. Her relationship with Hess (Duane Jonesfrom Night of the Living Dead “)), a vampire anthropologist who is remarkably skilled in his abilities, short-lived, but captivating with his special look at race and history. Here Hessa rotates the Myrtle dagger of Ganja's husband (Gann himself), who comes from an ancient tribe of African bloodsuckers. It is assumed that, despite all his intellectual knowledge of the history of his people, he did not fully feel the anger at what happened to Africans over the years, until he was struck by a dagger.
Gunn explores transformation and lifestyle, touching on painful, complex history and social issues that are hard to let go. It may take some time for the full effect of the film's thoughtful thematic underside and careful attention to demeanor to manifest, but they certainly add to the film's seductive and unwavering appeal. Decades later, there is no film that even remotely looks like this, and the amount of oddity on its artistic scale is negligible.
18) Dracula: Pages from the Diary of a Virgin (2002)
Inexplicable, witty and silent retellingGuy Maddin The myth of Dracula deserves a special place in the world of vampire films. The movie starts with LucyTara Birtwistle), a gorgeous young woman withdeprived suitors, who wonders why she can't just take on three husbands, offering to change the original's sexual dynamic. Then Dracula (Zhang Qiang-wei) takes a bite out of her within the first ten minutes, whereas in the original tale it happens much later, and that's not even half of what Maddin does here.
Maddin combines colored lenses, dated effects, modern dance and ballet, action titles and sensational physical performances in this enigmatic and wildly inventive stunt, and his seemingly impulsive formal decisions reflect strange urges, sudden changes of heart and infinity. . a thirst for pleasure that underscores the tale of a hearty beast that needs blood for sustenance. Essentially, Maddin turns a story of horror, loss, and horror into an experimental explosion of madness, lust, comedy, and unrelated invention.
17) Vampire Kiss (1988)
The cult that arose aroundNicolas Cage after going down the B-movie route is unsurprising and shouldn't be ridiculed. Cage's energy, if channeled in the right direction, is noteworthy and anyone who has seen "Wild at heart" David Lynch.confirm this fact. There are many other performances that showcase this magnetic charm in intensity, and one of the best has to be in the late 80s. After a strange encounter, Cage's financial pin begins to believe that he is turning into a vampire, and his faith in the adherents of vampire lore leads him to the dark corners of his soul. Cage, bless him, goes all-in on a crazy character, and his intensity fuels this wicked and insanely funny satire of the 1980s financial mentality. Every other actor arrives in the role, and it's a smart but harmless curiosity that gets whispered at conventions. With Cage spinning around and fully conveying the frustrated side of faith"Kiss of the Vampire" deserves a reputation as a great cult movie and just a great movie.
16) Daughters of Darkness (1971)
When nudity and sexual propensity were toned down in the world's first motion pictures, the vampire movie was finally infused with the erotica of the '70s genre. There have been many sex movies made in the past few decades that have featured a vampire; Belgian "Daughters of Darkness" - the most cunning and capricious of the rest of the party. There is a "mother" eating flowers, a mysterious man on a bicycle, and an ornate Transylvanian hotel where a countess (Delphine Seyrig) and her helper (Andrea Rau) lament that there are almost no virgins left in their world, and thus the Countess's ritual of bathing in the blood of 800 virgins for her healthy glow begins to fade.
Enter a couple of newlyweds who have already fallen out of love with each other (she is Swedish and therefore not "of good blood", hardly a vampire to bother) and eager to meet each other's lovers, and you have a hotel suitable for psychosexual exploration and feasting.A film by Harry Kuemel – real food for those who prefer class. And Seyrig, veteran of international arthouse filmsAlena Rene andChantal Ackerman, represents one of the classiest female vampires, and Rau is one of the most alluring, especially when her silky seductive moves are the perfect complement to the serenely amazing luke music.
15) Nadia (1994)
Exciting early workMichael Almereida often lost in the waves of American independent phenomena of the 1990s.Nadia unfolds the myth of Dracula and Van Helsing, the latter presented as bewilderedMartin Donovan and incoherentPeter Fonda. Almereida's use of black and white is superb and it lends the royal family power to the Dracula family game playedElina Lowenson the roles of Nadia andJared Harris in the role of her complex, long-separated brother, serious seriousness. Almereyda likes to play with the historical knowledge and experience that such creatures have accumulated, as well as the psychological trauma they may endure due to their bestial lifestyle, but this does notNadialess formidable. Almereyda's film haunts you in a way that many other films on the subject are simply thrilling and rarely remembered, mind you.
14) Blade (1998)
Blade, Definitely not the best vampire movie from the 90s, but it's one of the coolest. In this exciting comic book adaptation ahead of its time, Blade hires a genre icon Wesley Snipes as a titled hybrid mercenary on a mission to rid the world of a vicious vampire scourge. From the script David S. Goyer, which would later help establish "solidity and validity" as the way of doing things in the DC Universe with the help of the trilogy "The Dark Knight " and " Man of Steel", blade iBelievably integrates vampire culture into the underworld of modern society with gothic ravers that make them seem like a bunch of bloodthirsty tools. Basically, you just can't wait for Blade to beat the crap out of them.
And Snipes does it with aplomb in incredibly athletic performances as he cuts, shoots and weaves his way through his immortal enemies with impeccable physical command. He is supported by the weapons of his vampire slayer ally Whistler, played by the delightfully rude and grouchyKris Kristofferson, and they have a serious business friendship that helps keep the film interesting even when there are no fists. fly, and the dialogue becomes laughable.Hilarious lines and all, Snipes carries the movie on his very muscular back with an air of arrogance that suits the character.
13) From Dusk Till Dawn (1996)
"From Dusk Till Dawn" - it's low- fine movie about two films in one, which was supposed to be Grindhouse. The first half is about some natural born killers ( George Clooney and Quentin Tarantino) who rob banks and convenience stores in a criminal environment that heads south of the border. They kidnap the man of faith Harvey Keitel) and his daughter ( Juliette Lewis) and are forced to stop at Titty Twister to celebrate their passage to Mexico. A fight breaks out over the club siren ( Salma Hayek), and then the second genre begins, because the Twister is a coven of vampires, and everyone who survives will have to fight until dawn.
FilmRobert Rodriguez equally fascinated by the depravity of the night demons, as well as sadistic brothers. The Christ-loving Keitel is called upon to offer some guilt for enjoying it so much.
12) Martin (1977)
When it comes to the heritage of the master, unbranded films are always ignored.George A. Romero («Night of the Living Dead"). Martin is a far more imaginative and frightening take on the horror mythos, as well as their love reversal. Central to the action here is the psychological belief in the titular teenager's vampirism. He uses syringes to draw his own blood, and he's a master seducer, like I am the king of Peru. And Romero's fascination with the bloodsucker tale seems to come from an almost clinical perspective, until you get to the end of this confusing, menacing thing. It is not so much fear that is felt here as psychological discomfort, and decades after this unique masterpiece was released, there is still nothing like it, even among obvious imitators and contenders for the throne.Martin remains an excellent work in a genre that values the imagination above all else.
11) Blood for Dracula (1974)
Count Dracula has always been a bit of a seducer, butPaul Morrissey (and producerAndy Warhole) gave us a hilariously powerless Dracula (Udo Kier) v "Blood for Dracula". This Dracula's body becomes incredibly weak because after centuries of feeding on virgin necks, it's getting harder and harder to find virgin women to drink from. His assistant suggests that they go to Italy, where families still hold true Catholic values and so the women will be pure. Warhol's Sex GodJoe Dallesandro (always a sweetie, never an actor; he brandishes here in a thick Brooklyn accent) took it upon himself to deflower every woman in the Italian countryside in order to starve Dracula.Blood for Dracula gives a different meaning to the wooden stake piercing Dracula's heart. Here, the morning forest literally kills the count.
While the powerless seducer is easy to laugh at, there is a certain sadness in Cyrus' performance; with increasing sexual freedoms, we are losing classical society, and Dracula Cyrus is the physical embodiment of this slow death. This is a man who could live forever as long as he lived in an era of purity. For centuries, Dracula has been a sorcerer of sexuality, and men had to track him down and physically impale him to protect their pure women. Now any man with a six-pack abs can break through the city and weaken his strength.
10) Shadow of the Vampire (2000)
Since no movie fan can call himself such without seeing "Nosferatu" F. W. Murnau, they should also enjoy "Vampire Shadow". The main vampire Murnau in this 1922 film was so convincingly played byMax Shrek (in his only film) that the directorE. Elias Merhige delightfully postulates that Shrek was indeed a vampire hired by Murnau and promised a human sacrifice in exchange for his genuine movie.John Malkovich plays Murnau, but thisWillem Dafoe, whois Max Shrekand this is perhaps the best result in a career of many disgusting twists and turns. It's more of a dark comedy than outright horror, but the recreationNosferatu - classic; and Shrek being spoiled by the take because he grabs a bat right in the air to bite it is a beautiful blow to the ego of filmmaking and how far one is willing to go to achieve that authenticity.
9) Dracula (1992)
It is unfortunate that Francis Ford Coppola have to be judged on horseback in a trilogy"Godfather ". The first two filmsGodfather", not to mention "Conversation" and "Apocalypse Now", set an impossible standard to be lived up to in the annals of popular cinema, and when Coppola wanted to go weird, the reaction was either indifferent or downright vicious. despite the great skill of the director and the evocative artistry that still appears in almost every frame.
His take on Dracula lore, in particular, was dismissed as nothing more than a camp item, as the main actors Gary Oldman, Winona Ryder and Keanu Reeves received several critical bruises along the way. However, on revisiting the film, what remains so tangible is Coppola's visual expression of immortality and insatiable lust that transcends mere sex, entering a surreal realm of physical hunger. There is a sharp menace throughout the production, and instead of playing the classic fairy tale as soberly frightening, the director goes to psychological madness, disbelief and insecurity in becoming a creature that lives only on blood.Tom Waits does for the great Renfield, but the film belongs to Oldman, who plays every version of the Dracula character with a grim looseness, making his very presence evoke feelings of release and damnation in equal measure.
8) Blade 2 (2002)
Presently,blade the franchise looked to have the same galvanizing filmmaker's appetite for talentmission Impossible, andblade II, Guillermo Del Toro created a better film (pound for pound) than the original and was able to expand the story in a way that gave him a cart to create creatures and wild characters. The first movie was a great introduction to life.vagrant the killersWesley Snipes. Del Toro has turned the next chapter into a clash with the roots of both beast and hero. Del Toro brought in a layer of thematic charm with physicality, monster politics, and dangerous ideas born of purity. Moreover,Blade II is a brilliant spectacle, complemented by fantastic, ingeniously chosen sets, choreography and exploratory passages with Del Toro's creatures.
As always with Del Toro, his populism never got in the way of his artistry. In this way, Blade II is also notable for how much fun it is, but at the same time filled with a lot of creative energy.
7) Addiction (1995)
Lily Taylor plays a philosophy student who craves knowledge before being bitten by a vampire in a New York City alley and then "hungry" for blood. It has become quite fashionable lately to explore the negative aspects of eternal life, but the sparse black and white filmAbel Ferrara definitely solves most problems by using a newbie vampire to explore religion, drug addiction, rape, and the AIDS epidemic. . Luckily, Taylor meetsChristopher Walken with silky tongue - as an overnight spirit guide - who gives her a lesson on how to adapt to her new affliction.Addiction extremely academic, but although it becomes philosophical, it has a special learnable rhythm that will not turn off non-Jean-Paul Sartre bowed down.
At the core"Junkie" lies the idea of how we always change our philosophy of life to better suit our current circumstances – whether it be addiction, reaction to trauma, economic controversy in a cosmopolitan city, or sudden and unexpected vampirism.
6) Only Lovers Left Alive (2014)
FilmJim Jarmusch «will surviveonly lovers" would have been a great double feature compared to its predecessor on this list. V"Drugs" we are meeting withLily Taylor at a very strange time at the beginning of her new life, and she has not yet developed a system to fill her stomach with the same composure that she fills her mind with. In the philosophical view of Jarmusch we meetTom Hiddleston andTilda Swinton.after centuries of bohemian lifestyle, presence in the coolest art movements and boredom in the state of modern art. He is depressed and she tries to bring him back to life and stop looking at the dark side of things. Their conversations are filled with a warm stream of ideas and people they've interacted with over the centuries, and how the world can still be mysterious and new despite their constant presence.
Of all the vampire movies on this list "Only lovers will survive"probably the most human. He wants the live audience to continue to be inspired, seek love, seek ideas and explore new areas. If not for yourself, do it for the vampires who need more surprises to ignite the desire to keep watching humanity.
5) Nosferatu - Ghost of the Night (1979)
breathtaking remakeWerner Herzog «Nosferatu" F. Murnau 1922 is both a tribute to what he considers the most important German film of all time and the definitive start to his own career, cementing his status as one of the most poetic films of modern cinema. painters. While creatingNosferatu Murnau was notoriously unable to access the rights toDracula, so he adapted the material to his needs by changing names and locations, a bold move that resulted in a cinematic masterpiece that was almost completely ousted from life as a result of counterclaims from the widowBram Stoker. By the time Herzog got his hands on the material forVampire Nosferatu,Dracula went into the public domain, so the filmmaker was able to combine two great source materials into one of the best horror dramas of all time.
The Duke presents vampire myths across the loneliness spectrum as an ancient pain, questioning any innate benefit of immortality when a person has to spend it all alone. This existential exploration ends with a triumphant performanceKlaus Kinski, a longtime collaborator of the director and object of admiration, who became a mortal enemy (no, seriously, see "My best villain"). In the hands of Kinski, Count Dracula is as pathetic as he is powerful, spreading his treacherous scourge with the weariness of a monster that has never succumbed to death. His despair and longing is ultimately his doom in a stunningly beautiful, bizarrely sensual climax when he finally feasts on Lucy Harker (Isabelle Adjani) .This scene acts as a sort of crystallization of the film's power; a cult moment in the mythology of Dracula, which Herzog managed to subtly rethink, adding pathos.
Thanks to the Duke's gift to capture the dangerous beauty of nature and the consistently magnificent work of his frequent film collaboratorJörg Schmidt-Reitwein, every bit of the classic fairy tale is rendered with the highest visual prowess. In Duke's hands, a bold remake of one of the greatest horror films becomes a passionate homage (sometimes right down to the frame) while carving its own place in the genre's canon.
4) Almost complete darkness (1987)
After spending the previous decade in sex-exploitation films, vampires reappeared in the 80s as leather-clad postmodern punks. And that look gave filmmakers a lot of new opportunities to play with: gangs, bikers, and drug addicts. All these groups run in packs and behave more dangerously than the old-fashioned solitary vampires of the past. It was a new breed of terror clans and, sorry (not sorry),"Lost Boys", but "Almost dark" Katherine Bigelow The best vampire movie of the 1980s. She puts them in a hybrid of both the neo-western and the road movie that became popular in the 70s,and, she seems to also call eternal love nonsense.
These vampires are modern bandits. They roll down our sleepy highways. In the best scene, they choose to fight in a bar. The character with the epic name Severen (wildBill Paxton) there are blades at the tip of cowboy boots, an addition that removes the need for biting and thus removes the intimacy of the feast that most vampires previously engaged in with their victims. But innear dark there is still intimacy. It's young love that starts at the convenience store (betweenAdrian Pasdar andJenny Wright). But Bigelow presents the youthful idea of eternal love as something fueled only by the things that keep you on the brink of death: sex, drugs and rock and roll; thus, always on the brink of death.
3) Dracula (1931)
Vampires inBlade II jump, fight and perform almost acrobatic feats. Hefty bloodsucker Colin Farrell from the remake of "Nights of Fear" wears nothing more than a white T-shirt and jeans. It turns out that modernity and vampirism go well together, but something still remains in the haunting stillness of the original.DraculaTod Browning from 1931. For those who are only looking for films that are smarter than they are, like people who need irony and irony. dismissive of the world, the original story of the count's meeting with the Harkin family will not have much impact.
The black-and-white cinematography remains great and Browning's footage is exquisite, but if you're looking for psychological menace, that's not the point.View of Bela Lugosi on the character - this is what emphasizes his regal behavior, his visibility of the aristocracy and the original class. Browning sees confidence and wisdom in such a being. How good is Farrell at"Nights of Fear"He is boastful, aggressive and obvious. Lugosi's being wears his world-weariness, intellect and experience like a fitted suit, never straining to catch his prey, rather knowing he has the power to trap them and turn them. There are plenty of imitators worthy of mention, but nothing beats the original in this respect.
2) Let me in (2008)
Whether it's atypical love stories, bullied boy novels, or girl next door, or outright bloody horror that you prefer from a sprawling romance, then swedish paintingThomas Alfredson about vampires and teens 2008"Let the right one in" It's a bloody valentine. for you.
authorJohn Ivid Lindquist adapted his novel for a screenplay that focused on the relationship between a shy and troubled 12-year-old Oscar and Eli's pale, enigmatic new neighbor girl. They soon team up due to similar common oddities: Oscar is fascinated by gruesome murders, and Eli has an unnatural bloodlust. This connection grows deeper as their true nature is revealed to each other. Oscar and Eli learn to trust each other all their lives, a trust that is put to the test before the film's horrifying but uncomfortably touching conclusion.Let the Right One in may be the most true expression of "eternal" and "unconditional love" you have ever seen.
1) Nosferatu (1922)
In one of the earliest vampire films, and still the best,F. Murnau does not try to romanticize his vampire, but instead presents him as a sick and pathetic shell. Count Orlok (Max Shrek) is the physical embodiment of death. With pointed ears and nose, structurally it has the face of a scavenger and long pale devil claws. Murnau does not attempt to film Shrek in a manner that implies that he was once human; with his claws and hunched posture, his every move looks like he's dragging hell in his shadow. Yes, not romantic.
Despite all the warnings from the city, the agent and his fiancee go to visit the Nosferatu, who hopes to buy a new estate. If the agent completes the deal, it will be a big salary, but his fiancee is at stake. And while future films will go to great lengths to romanticize and sexualize the creature that beckons a potential eternal bride, "Nosferatu" is a stunning metaphor for the blindness people experience when they hang money. Even when dangling on claws.
"Nosferatu" is not just the best vampire movie ever made. This is one of the best filmsever created. Period.
