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Still Watching from the Window: 40 Years of Fright Night

01 Friday Aug 2025

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In 1985, just when vampires were beginning to lose their bite on the big screen, Tom Holland’s Fright Night sunk its fangs into the horror genre and reminded audiences that there was still plenty of blood to spill—and fun to be had. A perfect blend of teen horror, gothic atmosphere, and creature feature camp, Fright Night has grown into a bona fide cult classic over the last four decades, still beloved by fans who remember the thrill of peering across the street and suspecting something sinister.

The premise is simple but delicious: Charley Brewster (William Ragsdale), a horror-obsessed teenager, becomes convinced that his suave new neighbour, Jerry Dandrige (Chris Sarandon), is a vampire. With no one taking him seriously, Charley turns to Peter Vincent (Roddy McDowall), a fading TV horror host and self-proclaimed vampire killer, to help him save the neighbourhood—and maybe his soul.

Fright Night succeeds largely because of Holland’s tight script and keen understanding of horror’s twin engines: fear and fun. Having already written Psycho II, Holland would go on to further solidify his genre cred with Child’s Play and Thinner, but Fright Night was his directorial debut—and what a confident debut it was. Holland didn’t just direct a horror movie; he celebrated horror, showing a deep affection for both Hammer-style gothic tropes and the glossier, MTV-tinged teen fare of the era.

But the film’s enduring charm rests heavily on the shoulders of two impeccable performances. Chris Sarandon gives Jerry Dandrige a dangerously seductive presence, equal parts Dracula and disco-era predator. His layered performance oozes charm and menace, playing the vampire as both creature and corrupter, a predator who thrives on the unspoken fears of suburbia. Opposite him, Roddy McDowall brings gravitas and melancholy to Peter Vincent, a character who could’ve easily been a joke. Instead, McDowall turns him into a tragic hero—washed up, afraid, but still brave enough to step into the darkness one more time.

The film also boasts some wonderfully grotesque creature effects courtesy of FX maestro Richard Edlund and a killer synth-driven score that helped cement its place in 1980s horror iconography. Whether it’s Evil Ed’s unhinged transformation or the classic vampire seduction scenes, Fright Night knows how to stage a memorable set piece.

While it might not have the mainstream status of other 1980s horror franchises, Fright Night holds a unique place in the horror pantheon. It’s a love letter to the genre’s past and a savvy, stylish entry in the wave of horror that was reshaping itself for a younger, hipper audience.

The Prognosis:

Forty years on, Fright Night remains a fan favourite—not just for its scares or its effects, but because it understands what horror fans crave: the thrill of being afraid and the joy of watching someone finally believe the impossible. You’re so cool, Brewster—and so is Fright Night.

  • Saul Muerte

The Dhampir Rises Again: 40 Years of Vampire Hunter D’s Haunting Influence

28 Wednesday May 2025

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Premiering Exclusively on Shudder, AMC+ and HIDIVE – Friday 30 May
“In a world ruled by vampires, only a half-blood dares to hunt them.”

When Vampire Hunter D premiered in 1985, few could have predicted the cultural ripple effect it would have across manga, anime, and horror for decades to come. Now, forty years later, this gothic, genre-defying milestone returns with a long-awaited streaming premiere on Shudder, AMC+, and HIDIVE—offering a perfect moment to reflect on its enduring power.

Set in the far-flung future of 12,090 A.D., the film unfolds in a post-apocalyptic landscape where science and sorcery coexist, and humanity lives in fear under the rule of the vampire Nobility. At its centre is Doris Lang, a brave young woman marked for unholy matrimony by the ancient Count Magnus Lee. Her only hope lies in the hands of a mysterious wanderer known only as D—an enigmatic vampire hunter with a tragic secret etched into his very bloodline.

Directed by Toyoo Ashida and based on the novel by Hideyuki Kikuchi with iconic illustrations by Yoshitaka Amano, Vampire Hunter D was a revelation for its time. It merged the aesthetics of Western horror—Dracula, Frankenstein, Lovecraft—with a distinctly Japanese post-apocalyptic flair, opening a door to global audiences that had rarely encountered horror anime in this form. The film’s blend of violence, melancholy, and romanticism felt alien and refreshing—an animated Gothic western that flirted with sci-fi, body horror, and dark fantasy.

The horror in Vampire Hunter D is not just visual—it’s atmospheric. Shadowy castles, mutated creatures, and the decaying elegance of the vampire Nobility all serve to create an air of terminal beauty, where death and corruption linger in every frame. The film pulses with dread, not just from its antagonists, but from the melancholic burden D carries as a dhampir—caught between two worlds, never at home in either.

Manga, and later anime, would absorb and amplify these motifs. Vampire Hunter D helped normalise horror as a serious mode within manga storytelling, inspiring a lineage that includes Berserk, Hellsing, Claymore, and Attack on Titan. Its DNA can be traced through the decades, proving that gothic horror, when stylised with poetic nihilism and speculative world-building, could resonate far beyond Japan.

Though animation has since evolved in leaps and bounds, there’s a charm in Vampire Hunter D’s hand-drawn grit—a visual texture that feels inseparable from its era and identity. It may lack the polish of modern anime, but it makes up for it in atmosphere, tone, and mythic presence.

The Prognosis:

As it celebrates its 40th anniversary with a new generation of fans ready to rediscover it, Vampire Hunter D still holds its scythe high. Part horror, part tragedy, and wholly influential, it remains a cornerstone of horror anime—and proof that even in a world of monsters, the greatest fear often lies within the hero himself.

  • Retrospective Review by Saul Muerte

Vampire Hunter D premieres exclusively on Shudder, AMC+ and HIDIVE – Friday 30 May

The Addiction (1995): Abel Ferrara’s Intellectual Bloodlust

17 Monday Feb 2025

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Abel Ferrara’s The Addiction (1995) is a vampire film like no other—more existential crisis than gothic horror, more philosophical discourse than blood-drenched carnage. Shot in stark black and white, it feels like an arthouse fever dream, blending horror with academia, addiction with enlightenment. At 30 years old, the film remains a fascinating, if occasionally pretentious, exploration of power, control, and oppression, anchored by a magnetic performance from Lili Taylor.

Kathleen Conklin (Lili Taylor) is a New York philosophy student whose life takes a sinister turn after she is attacked and bitten by a mysterious woman. As she spirals into an insatiable thirst for blood, she begins to see vampirism as more than just a physical affliction—it becomes a metaphor for oppression, complicity, and the nature of evil itself. Along the way, she encounters a seasoned vampire (Christopher Walken) who warns her of the dangers of surrendering completely to her cravings. But can she resist, or is she doomed to embrace the darkness?

Ferrara, never one for convention, uses vampirism as an allegory for addiction—whether to power, drugs, or ideology. The film’s dialogue is dense with references to philosophers like Nietzsche, Sartre, and Heidegger, which can sometimes feel like a graduate-level seminar more than a horror movie. But if you can push through the intellectual posturing, The Addiction offers a compelling and, at times, harrowing dissection of human nature.

Ferrara’s New York is a city of shadows, the grainy cinematography by Ken Kelsch lending a sense of grimy realism that recalls his earlier works like Bad Lieutenant (1992). The vampires here aren’t glamorous or seductive; they are sickly, ravenous, and desperate, resembling junkies more than supernatural beings.

Lili Taylor delivers a phenomenal performance as Kathleen, bringing both fragility and ferocity to the role. Her transformation from quiet intellectual to cold predator is gradual but chilling, culminating in scenes of nihilistic bloodletting that are as horrifying as they are thought-provoking.

Christopher Walken makes a brief but unforgettable appearance as Peina, a vampire who has learned to suppress his hunger. His cryptic monologues add to the film’s philosophical underpinnings, but his performance, dripping with Walken’s signature charisma, keeps things engaging rather than didactic. The supporting cast—featuring Annabella Sciorra, Edie Falco, Paul Calderon, and a young Michael Imperioli—further enriches the film’s grim world.

Thirty years later, The Addiction remains a divisive film. Some see it as a brilliant deconstruction of horror tropes and a biting commentary on societal power structures; others find it insufferably self-indulgent. But regardless of where one stands, there’s no denying its uniqueness.

Its themes—oppression, complicity, the cycle of violence—are as relevant today as they were in 1995. The film asks difficult questions: Can we resist our darker impulses, or are we all fated to succumb? Are we victims, perpetrators, or both? In true Ferrara fashion, no easy answers are given.

While The Addiction may alienate some with its academic-heavy dialogue and overtly intellectual leanings, those willing to engage with it will find a mesmerising, deeply unsettling film. Lili Taylor’s powerhouse performance, Ferrara’s uncompromising vision, and the film’s stark aesthetic make it a fascinating entry in the vampire canon—one that still bites, 30 years later.

  • Saul Muerte

Deafula: A Groundbreaking Blend of Horror and Deaf Representation, Despite Its B-Movie Roots

14 Tuesday Jan 2025

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Deafula stands as a fascinating piece of cinematic history, not so much for its storytelling prowess but for its groundbreaking approach to inclusivity. The film is the first and only vampire movie performed entirely in American Sign Language (ASL), a choice that both defines and elevates its otherwise formulaic narrative.

The story follows a theology student grappling with his vampiric transformation, a premise that leans heavily on genre staples without adding much originality. The performances, while earnest, often lack the polish needed to truly engage. Yet these shortcomings are overshadowed by the sheer ambition of the project. Peter Wolf’s decision to craft a film centered on Deaf culture in a genre that typically overlooks such representation is nothing short of commendable.

Visually, Deafula features moments of atmospheric charm, particularly in its use of shadows and gothic settings. However, the pacing is uneven, and the screenplay feels predictable, recycling well-trodden vampire tropes. Despite this, the film’s unique linguistic delivery ensures it remains captivating for viewers willing to embrace its quirks.

As it marks its 50th anniversary, Deafula is worth celebrating for its audacious attempt to broaden the boundaries of horror cinema. It may not transcend its budgetary or narrative limitations, but its pioneering spirit ensures it occupies a special place in the genre’s history.

  • Saul Muerte

Blood of the Virgins: A Lustful Bite of 60s Horror That Misses the Mark

14 Thursday Nov 2024

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Blood of the Virgins (1967) is an interesting attempt at vampire horror that stumbles through its narrative despite its atmospheric promise. Directed by Emilio Vieyra, the film tries to capitalise on the familiar gothic elements of betrayal, seduction, and the eternal curse of vampirism, but its low budget and muddled storytelling prevent it from fully sinking its teeth into viewers.

The film opens with Ofelia, who’s set to marry Eduardo but finds herself in a tangled web with her lover Gustavo. Despite some pre-wedding jitters, Ofelia goes through with the marriage, only for Gustavo to interrupt their wedding night with murder and a fateful bite, turning her into a vampire. Fast-forward to the 1960s, where a group of travellers takes refuge in a deserted lodge after their van breaks down. Ofelia reappears, now a tragic figure caught between the pull of seduction and her growing weariness with the vampire’s curse.

While the setup is promising and echoes classic vampire tales, Blood of the Virgins falters in its execution. The transition from Ofelia’s tragedy to the modern-day storyline is rough, leaving viewers with little investment in the new characters. The young travellers quickly fall into horror stereotypes, and their interactions feel shallow, making it hard to care about their fates as they encounter Ofelia. The central mystery surrounding the vampire’s motives and how the group will survive unfolds predictably, with suspense largely absent and horror scenes lacking bite.

Visually, Blood of the Virgins does manage to capture some atmospheric shots with moody lighting and a dreamy, surreal quality. However, it doesn’t do enough to maintain tension or provide any significant scares. Vieyra’s direction seems uncertain, as if torn between crafting a horror film and leaning into the film’s more exploitative elements. The horror never reaches the eerie or unsettling, instead landing in a kind of melodrama that drags down the pacing.

Ofelia, the story’s would-be tragic heroine, lacks the depth that might make her journey compelling. Her transformation and internal conflict about her cursed life could have added emotional weight, but they’re skimmed over in favour of a few romanticised seduction scenes that lack nuance. The attempt at sensual horror falls flat, feeling more like an obligatory nod to the eroticism associated with vampire lore than an organic part of the story.

While Blood of the Virgins holds some intrigue as a piece of Argentinian horror cinema from the 1960s, it ultimately fails to deliver as either a compelling vampire story or an effective horror film. It’s an uneven experience best suited for those curious about vintage Latin American genre cinema, but for most viewers, it’s likely to feel like a missed opportunity. Vieyra’s vision doesn’t quite come together here, leaving Blood of the Virgins feeling more like a hazy, half-formed nightmare than a film that truly haunts.

  • Saul Muerte

Dark Desires and Eternal Shadows: Revisiting Interview with the Vampire’s Seductive Legacy

11 Monday Nov 2024

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Neil Jordan’s Interview with the Vampire (1994) is a lush and lavish exploration of eternal life, where the shadows of New Orleans and Paris are as inviting as they are haunting. Adapted from Anne Rice’s celebrated novel, the film is a powerful blend of gothic romanticism, bloodlust, and erotic tension, but its leading men—Tom Cruise as the charismatic vampire Lestat and Brad Pitt as the tormented Louis—remain a point of contention to this day. With Rice’s novel as its beating heart, Jordan’s adaptation brought a nuanced, sensuous exploration of love, horror, and longing that has endured for nearly three decades, despite those famously bold casting choices.

Jordan’s direction underscores the sensuality that made Rice’s novel iconic. The story is imbued with themes of lust and longing, extending beyond mortal desire into a deep, predatory hunger that consumes its characters, literally and emotionally. Cinematographer Philippe Rousselot bathes the world in warm, seductive lighting that makes the vampire’s nocturnal existence a beautiful nightmare. The story’s vampire leads are creatures driven by a desire that is both deeply romantic and undeniably grotesque, elevating the traditional horror elements of vampirism into something more profound and captivating.

The two vampire leads are captivating in their own way, but critics were polarized by the casting of Cruise and Pitt as Lestat and Louis. For Rice, Lestat was an iconic antihero, an exuberant villain with a touch of madness and charisma that commands the screen. Cruise, already a megastar, seemed an odd choice for the role, and while his performance is flamboyant and committed, it doesn’t always capture the layered, dark humour or philosophical weight of Lestat. Pitt, as the brooding Louis, offers a more subdued, sorrowful portrayal, but at times it veers into passivity, making the character feel too reserved to fully connect with Lestat’s extravagance. In that sense, while Cruise and Pitt deliver star power and charisma, it’s arguable that they miss some of the existential torment and depth that Rice imbued in her protagonists.

Even so, Interview with the Vampire shines when it focuses on the delicate, almost familial connection between the vampires. The introduction of the child vampire Claudia, portrayed by an astonishingly talented Kirsten Dunst, injects a fresh dynamic into the film. Claudia’s tragedy, as a woman trapped in a child’s body, intensifies the film’s exploration of love, loss, and identity, with Dunst’s performance stealing many of the film’s most powerful moments. Claudia’s frustration with her unchanging form and her love-hate relationship with Louis and Lestat elevate Interview beyond a typical vampire tale into a complex character study of immortality’s price.

In the end, Interview with the Vampire is a mesmerizing, albeit imperfect, gothic romance—a film that drips with atmosphere and raw emotion. Jordan’s vision, although sometimes hindered by casting choices, remains a powerful cinematic translation of Rice’s narrative, filled with seduction and existential dread. In fact, its occasional missteps in casting have ironically become part of its charm. Whether or not Cruise and Pitt were ideal as Lestat and Louis, their portrayals have carved a unique place in the pantheon of vampire lore.

Decades later, Interview with the Vampire holds its place as a defining piece of 1990s horror, a moody, romantic, and darkly beautiful portrait of an eternal struggle with mortality and morality. It’s a film that leaves you transfixed by its dark allure and makes you ponder what it truly means to live forever.

  • Saul Muerte

Movie Review: Abigail (2024)

18 Thursday Apr 2024

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Okay, so we’ve all seen the trailer by now.

And if you haven’t then pfft, call yourselves horror fans.

Anyways, the premise is: a group of criminals kidnap the daughter of a very powerful underworld boss. Holed-up at a spooky, and isolated, mansion they’re directed to wait it out till morning unaware the little girl is no ordinary little girl.

She’s a vampire.

Sorry a spoiler but not a spoiler.

It’s in the damn trailer.

Anyways, going into this you know you can expect some gory blood-drenched fun and it bloody delivers. To be perfectly honest, at times you can actually see the numbers blatantly etched into this paint-by-numbers monster horror, but I was actually beyond caring. I was having far too much fun with this.

Brought to you by the makers of the latest “Scream” incarnations and the awesome and not too dissimilar “Ready or not” – as it has the same trapped-in-a-mansion-with-someone/something-trying-to-kill-you vibes.

They’ve also clearly got enough weight to bring along an A-grade cast for the ride, including: Melissa Barrera (The new “Scream” movies), Kathryn Newton (“Freaky”), Dan Stevens (“Legion” and “The Guest”), and the supremely talented Alisha Weir (“Matilda”) as Abigail, as well as an assortment of others including the late Angus Cloud (“Euphoria”).

The Prognosis:

Look, I’m not going to go into this too deeply, nor does it warrant it. It’s just a very polished popcorn-horror for those who want just that. There’s jump-scares, there’s laughs, there’s gore, and the leads are completely drenched in dyed-red corn syrup by the end. Exactly what it says on the tin.

A must see for any horror fan.

  • Myles Davies

Movie review: The Invitation (2022)

07 Wednesday Sep 2022

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The lure of Dracula entices moviegoers to the cineplex once more with this latest adaptation of Bram Stoker’s tale. This time the setting has a modern approach with the idea that the notorious nosferatu has been living all this time and set up his abode in new Carfax Abbey.
The wheels that turn in order to pull us into the narrative are a little slow and cumbersome, placing our focus on orphan,  Evie Jackson (Nathalie Emmanuel) who resides in New York, struggling to make ends meet in the catering business, when she receives the result of a DNA test through a new software programme. This leads to a connection with an estranged cousin and his family who live in England, and the promise of another life with wealth and romance to entice her further into their world. So Evie and her streetwise ways land her in prominent society into the path of Walter De Ville (Thomas Doherty), the charismatic lord of the manor. Behind the visage though is something more sinister with old world rules at play.

Australian director, Jessica M. Thompson does well to craft this new vision of an age-old Gothic tale for her sophomore feature length outing, but it has to be said that the writing is clumsy and falls prey to cliches all too often. There are bold attempts at providing this fresh spin, but in doing so, there are choices made that leave one groaning in response. Perhaps I am showing my age, but The Invitation succumbs to modern trappings, where some of the details and depth are glossed over for the sake of image, but this comes at the destruction of the story’s essence. As such, one is more likely to fall into a sense of lull as we are guided through each of the steps towards the film’s climax.

The ending even feels a little mismatched too, as if trying to force a potential franchise out of this. The way it is handled makes no sense whatsoever. If it were not for Emmanuel’s performance, who is once again showing that she is a force to reckon with on screen and more than deserves the lead status here, this film would be positively dormant with no hope of resurrection throughout. 

The Prognosis:

The Invitation is a bold attempt at reinventing an old tale for a modern audience. Its delivery however leaves you wanting, missing the mark on numerous occasions. Nathalie Emmmanuel shines in an otherwise lacklustre narrative that rests too easily on its laurels, failing to drive the direction into a riveting new place.

  • Saul Muerte