A handful of vampire films throughout the years have perfectly captured all that’s made the subgenre so appealing to audiences for just a little over a century. The depiction of vampires in films and the struggles they face has gone through many interpretations, fromthe 1922 classicNosferatutoSinners, released earlier this year.
While some vampire films aim to reflect on the moral dilemmas that trouble their undead characters, others bring attention to the humor associated with their way of life, such asWhat We Do in the ShadowsandOnly Lovers Left Alive.
The vampire movies that can easily be considered masterpieces stand out significantly among the crowded subgenre.They are films that are largely celebrated for their storytelling and stylistic achievementsand have left a significant mark on the horror genre in one way or another.
The Hungeris an erotic horror film whose celebration of gothic subculture is apparent in nearly every frame.The Hungerexplores themes of aging and polyamory in a fairly compelling manner. ThoughThe Hunger’s plot isn’t always the film’s strongest component, it’s easy to overlook when presented with such a strong, stylish ’80s aesthetic and unique cast.
The film stars Catherine Deneuve, David Bowie, and Susan Sarandon as a leading trio whose characters find themselves in a love triangle.The LGBTQ+ community and the horror genrehave long been intertwined, andThe Hungerhas earned a strong cult following partially due to its sapphic love story, which it handles with a great amount of respect.
To this day, few vampire movies can compete withNear Dark. Released in 1987, Kathryn Bigelow’sNear Darkcame at a time when there was a resurgence of vampire movies in Hollywood. However,Near Dark’s clever and effective blend of the Western and horror genres has allowed it to positively stand apart from the other vampire films that emerged at this time.
Like any good romantic vampire movie, the love story inNear Darkis full of complications.
Audiences are introduced toNear Dark’s nomadic vampire characters through a young Oklahoma man who suddenly finds himself traveling with them. Like any good romantic vampire movie, the love story inNear Darkis full of complications.Near Darkis appreciably violent and has a memorable score provided by Tangerine Dream that neatly ties together Bigelow’s vision for her solo directorial debut.
A Girl Walks Home Alone at Nightsees its main character, an unnamed vampire (Sheila Vand), lurking around the streets of the fictional Bad City in search of her next victim. The Girl’s encounter with a lost human brings about a vulnerability to the fanged protagonist.The Western-horror hybrid explores an unexpected human-vampire bond and feminist themesthrough its vengeful lead vampire.
The Girl, whose victims consist mostly of violent men, takes on a vigilante persona. Rewarded with a confidence that allows her to roam about Bad City unafraid, this quality challenges the expectations that come with the film’s title, further adding toA Girl Walks Home Alone at Night’s feminist notions.
After directing several episodes of TV and a couple of short films,Guillermo del Toro made his feature film directorial debut withCronos. The horror film follows an elderly antique dealer whose encounter with an ancient scarab-like artifact provides him with a second chance at life —and an extreme thirst for blood. For its direction and originality,Cronoshas earned plenty of critical acclaim.
Del Toro deftly balances the film’s horror elements with its compelling family drama. Thoughdel Toro’s horror filmswould only get better as he continued working into the following decade, the early ‘90sCronosis a wonderful preview of the director’s career. Following the revitalization of vampire films in the ’80s, del Toro showed there was more to unpack within the genre.
FromThe Lost Boys’ memorable quotesto its fun blend of comedy and horror, the ’80s vampire film is viewed today as a cult classic. Helped by its talented ensemble,The Lost Boysintroduced a youthful, comedic, and edgy appeal to vampire films that was unlike anything else seen before. There’s no questioning the film’s continued praise from horror fans.
The Lost Boys(1987) spawned two direct-to-video sequels:Lost Boys: The Tribe(2008) andLost Boys: The Thirst(2010).
The Lost Boysfollows two brothers (Jason Patric and Corey Haim) whose family’s move lands them in a town that’s a vampire hotspot.The Lost Boysis clever, stylish, and has an appreciated number of genuine scares. More than anything,The Lost Boysseeks to offer audiences a fun time and successfully does so, redefining the vampire genre in the process.
Both violent and sensual,Thirstputs a refreshing spin on familiar vampire tropes, presenting audiences with a story that is equal parts tragic and comedic. The film sees Catholic priest Sang-hyun (Song Kang-ho) transform into a vampire after a botched medical experiment. This leads to a crisis of faith as Sang-hyun’s thirst for blood grows stronger, and he’s unable to control his impulses.
At the same time, Sang-hyun begins falling in love with the wife of an old friend.Thirst, like many ofPark Chan-wook’s films, is characterized by its brutal violence and dark humor. Arguably one ofthe best Korean horror movies,Thirststands out against its contemporaries thanks to its thought-provoking exploration of desire and Song’s incredible performance.
Released this year,the recency ofSinnersmight cause some to hold off on labeling it a “masterpiece.” Still, Ryan Coogler’s film has a lot going for it that proves it’s one of the genre’s best films in a while. Michael B. Jordan leads the film in dual roles as twins who return to their hometown only to be met by sinister vampires.
Sinnersadheres to long-established vampire tropeswhile still managing to infuse plenty of originality into its narrative. Coogler’s direction is as sharp as ever, andthe social commentary he weaves into the film’s screenplay fits well within the supernatural framework. Topping off the film’s achievements isSinners' rich soundtrack and captivating performances, especially that of Jordan, a longtime collaborator of Coogler’s.
Only Lovers Left Aliveisn’t concerned with blood splatter, jump scares, or violence. Instead, Jim Jarmusch’s film is set on establishing a distinct mood centered around its main characters' struggles in the afterlife.Only Lovers Left Alivefollows married couple Adam (Tom Hiddleston) and Eve (Tilda Swinton), a pair of vampires who’ve been together for centuries.
Reminiscing on the past, Adam and Eve feel lost and uninspired in the modern world —even refusing to drink 21st-century blood in fear of its pollution.Few vampire films tackle existential dread when dealing with supernatural creatures. It’s because of this unique premise and Swinton and Hiddleston’s inspired performances thatOnly Lovers Left Alivecan be seen as a masterpiece.
Inspiring the FX series of the same name,What We Do in the Shadowshilariously approaches making a film about vampires. Written and directed by Jemaine Clement and Taika Waititi,What We Do in the Shadowsisa mockumentary-style film that follows the lives of a group of vampiresliving together in Wellington, New Zealand.
The everyday adventures and troubles that impact the roommates' lives mirror those of the living, only made unique to the undead as a result of their supernatural abilities. Clement and Waititi have a clear appreciation for vampire films and the tropes associated with them, which allowsWhat We Do in the Shadows' spoofing of them to feel complimentary and genuine.
When one is asked to picture Count Dracula in their mind, chances are it’s Bela Lugosi’s depiction of the character that they see. There’s little debate to be had aboutDracula’s “masterpiece” status, if not forthe film’s genuinely creepy atmosphere and Lugosi’s delightful performance, then surely forDracula’s long-lasting influence as one ofthe best Dracula movies.
The incomparable performance defined much of Lugosi’s career as a horror actor and remains an archetype that informs the Dracula-centered vampire films that have followed.
The film is based on a stage play adapted from Bram Stoker’s novel,Dracula. Lugosi, both charming and menacing, makes the character something entirely of his own creation. The incomparable performance defined much ofLugosi’s career as a horror actorand remains an archetype that informs the Dracula-centered vampire films that have followed.
