TRAILER TRASH! Vampire Comedy Edition!

Check Out Footage from Sunday's True Blood Finale NOW!

HBO's vampire drama True Blood has been building all season to a fever pitch, and even managed to reel me back in after apathy had begun to set in during some of the earlier episodes. And now, the premium cable network has made some brief video clips available which give some hints as to what we might expect this coming weekend, when the last episode of Season 3 airs.

First, we get some indication that there may be more to that whole fairies/aliens comparison than we originally suspected. Then, we've got a soap-operatastic scene between Tara and Sam, in which Mr. Merlotte seems to be on the verge of revealing a very important detail about himself. And finally, Hoyt's momma continues her overbearing ways, made even worse upon the discovery of a big ol' vampire hickey on her baby boy's neck. Check it all out below, True Blood-hounds...

Hump-Day Harangue: The "Let Me In" Trailer--OK It Won't Suck, But Is It Necessary?

Let's get this out of the way right off the bat, because I've been sitting on this and mulling it over for quite a while. As many of you know, and have probably seen elsewhere, the first official trailer for Let Me In, Matt Reeves adaptation of John Ajvide Lindqvist's Swedish novel Let the Right One In, was unveiled earlier this month. For those who haven't seen it yet, here it is:



To merely refer to it as an adaptation of the novel is to be a bit coy however, as we all know that the book was, only two years ago, adapted into a superb Swedish film by Tomas Alfredson. It was a film which many called the greatest vampire movie of all time, and I would personally rank among the best films I've seen in recent years, perhaps second only to There Will Be Blood as the best film of the '00s. It was powerful, it was moving, it was expertly acted and directed, with an unforgettable score and a timeless quality few contemporary films maintain.

And so, to a certain extent, we must admit that Reeves' Let Me In is just another in a long line of English-language horror remakes put together in the wake of a successful foreign film, much as we saw with Quarantine ([REC]), The Ring (Ringu) and many others. Yes, Reeves claims to be going back to the original source material, but you and I both know that this movie would not have been made were it not for Alfredson's film. So what do we make of it?

Granted, my knee-jerk reaction is to lament the inanity of the American movie machine, which seems to have lost all faith in American audiences consuming anything that isn't completely spoon-fed to them. I mean, why not simply dub these successful foreign films into English if you're so worried about Americans not wanting to read subtitles? Did they remake The Good, The Bad and the Ugly in 1968 with all American actors? I guess the closest thing I can think of to this modern phenomenon is the way the original Gojira was ruined with new footage to appeal to American audiences in 1956. Is that really the model to be emulating?

But on the other hand, everything I've seen regarding this American version has been impressive. Chloe Moretz of Kick-Ass seems pitch-perfect as Eli (or Abby if they insist) and this Kodi Smit-McPhee kid they got to play Oskar (Owen...sigh, what's wrong with Oskar??) also seems up to the task. Checking out the trailer also gives me even more hope that this will be a good movie--the look is right, it seems to be faithful to the material, and the relationship between the two leads feels right. Also, love that Morse code ending. This does not seem (too much) like a watered-down Americanization. Some of the calm beauty of the Swedish film seems to be replaced with the typically dire, potboiler tone most Americans are more used to, but that could very well be the way the trailer is edited. And of course, Eli has been unequivocally confirmed as a girl, which was to be expected.

Still, one has to ask, why bother? If the reason is to truly go back to the book and do something different, they don't seem to going about it that way at all. Watching that trailer felt very much like watching Alfredson's film, down to specific moments and shots being mimicked (much like Quarantine did.) Sure, they're apparently exploring some stuff from the novel that wasn't in the other movie, such as the ultra-bizarre Hakan subplot, but quite frankly, from what I've seen, that doesn't seem to be playing much of a major part. Rather, it seems mainly to be aping Alfredson's work. And if that's the case, no matter how great it is, I'm still going to be walking away scratching my head wondering why it was even attempted. Or more accurately, I'll be shaking my head, knowing precisely the only reason it was attempted: another easy payday.

I'm so on the fence about this project, it's not even funny. Let the Right One In is a movie that's very close to my heart, and sure, I know the old saying, no matter what they do with it, the original still exists for me to enjoy. I just can't decide whether I'm happy about this new version or not. It does seem intriguing and well-made, I just hope that Reeves and company live up to their promise and give us something fresh and new--the novel is fertile enough ground to allow that--rather than just another spoon-fed American remake.

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REMINDER: For those who feel they missed out on the greatness that was Kevin Geeks Out!, I encourage you to get down to 92YTribeca in Manhattan this Friday night for the encore presentation of Mr. Maher's most acclaimed shlockfest of them all: Kevin Geeks Out About Sharks! I attended the initial presentation, and I can tell you it's a night you will carry with you till you sleep in Davey Jones' locker. Shark cupcakes will be provided for all, plus the first 10 people to arrive get a copy of the sold-out comic book Grizzly Shark and Sea Bear!

Kevin Geeks Out! returns for one night only, so don't miss out, dweebs! Get the ticket info and stuff at Kevin's blog.

The Lucky 13: Week Six: Vampires

The history of horror is populated with a cornucopia of malicious monsters to chill the blood and excite the imagination. But for roughly the past eight decades, one monster in particular has stood head and shoulders above the rest as the most prominent, and the most readily identifiable with the genre: the vampire.

There's something about the vampire's ability to literally drain away human life that seems to resonate at the very epicenter of what horror is all about. From ancient folklore to Victorian literature, and eventually on the silver screen, they have called to us, both terrifying and irresistible. Vampires have been the subject of countless horror films. As challenging as it may have been, our crew--along with the Brutal as Hell gang--have selected our all-time favorites. Read on, and remember, the dead travel fast...

B-Sol on Nosferatu

Not only the greatest horror film of the 1920s, but I believe an argument could be made that it might be the finest horror film ever. However, I'll just say it's my all-time favorite vampire flick, and leave it at that. Pure joy for any true horror fan, from beginning to end, Max Schreck's exploits as the demonic Count Orlock make up an almost transcendent experience of movie viewing. It might be easy and predictable to choose this one, but I choose it for a reason--it is the most frightening movie of its era, and still the most rewarding to watch. Not to mention the best screen adaptation of Dracula.

But despite Nosferatu technically being a Dracula adaptation, Max Schreck's Orlock is an entity all on his own, with a distinct persona and look that virtually transcends horror cinema, if not cinema as a whole. The rising out of the casket, the unforgettable shadow-walk up those stairs. This, readers, is the stuff of cinematic horror immortality. It gets no better.



Fandomania's Paige MacGregor on Underworld

It’s surprising how few vampire films I’ve watched, given how many vampire books and novels I’ve read over the past several years. Fortunately, I’ve managed to avoid the majority of the Twilight franchise, limiting my experience of vampires on the silver screen to the laughable Gerard Butler film Dracula 2000, Robert Rodriguez’ From Dusk Till Dawn, the classic vampire film Nosferatu, and the ever-popular Underworld franchise. For various reasons, I recently reached the conclusion that of this limited selection, Underworld has made its way to the top of my vampire horror movie list to become my favorite movie featuring the blood-sucking undead.

Although Underworld isn’t particularly intellectually stimulating, it is a fast-paced action-adventure horror film with vampires, werewolves (or lycans, as they’re called in the film), and a centuries-old war raging between the two factions. Using the traditional star-crossed lovers theme of Romeo and Juliet, Underworld follows the sexy, self-sufficient vampire Selene (Kate Beckinsale) as she falls in love with a human named Michael Corvin (Scott Speedman). Unfortunately, Michael was bitten by a lycan and is undergoing the painful process of becoming one of Selene's mortal enemies.

Many people will be surprised to know that Underworld was my first introduction to both Kate Beckinsale and Bill Nighy, two actors that I really like. In my opinion, Len Wiseman's casting in Underworld is phenomenal; Beckinsale is the essence of the vampire Selene, and her porcelain complexion couldn't be more perfect for the role. In addition, Bill Nighy is unbelievable as one of the first vampires ever created, corrupt and cruel and filled with hatred for the lycans. The special effects used to turn Nighy into the blood-deprived corpse as he first appears in Underworld is very well done, but without Nighy's effective acting and powerful presence, the role would've fallen flat.

I also love the visual style that Len Wisemen and his Oscar-nominated cinematographer, Tony Pierce-Roberts (Kiss Kiss Bang Bang, De-Lovely), use in Underworld. Everything from the rainy urban landscape and the vampires’ massive, hulking mansion, to the skin-tight black leather that Selene wears and the dark, shadowy complexions of the lycans contributes to the stunning contrast of lights and darks that characterize the film’s cinematography. In addition, the camerawork in Underworld is superb. Establishing shots are often grand urban vistas. Even the use of CGI in these shots is flawless, creating images that convey both the dark, secretive nature of the vampires and lycans while also expressing the enormity of the landscape in which they dwell.

The use of slow motion camerawork during the climactic fight scene at the end of Underworld is genius given the speed attributed to both lycans and vampires in the film. This fight sequence is dissimilar from many of the fight scenes in other contemporary films like Sam Raimi’s Spider-Man 3, which often feature images that move too fast for audiences to follow adequately. Instead, Wiseman and his production team used slow motion not only to keep viewers in the loop with regards to the mechanics of the fight, but also to highlight the beauty of the fight choreography itself.

It is no wonder to me that Underworld spawned both a sequel and a prequel, with yet another sequel rumored to be in production. The leading lady is a sexpot with giant pistols and a hunger for blood, the cinematography is breathtaking, and the story of love and betrayal is interesting, if not compelling. I look forward to a fourth installment of the Underworld franchise, and I hope someone talks Beckinsale back into a skin-tight suit of leather for me.



From Beyond Depraved's Joe Monster on Fright Night

Vampires and I kind of have a quirky romantic comedy-esque relationship. One minute I’m fawning over the genre for its brilliance, suspense, and eroticism, and the next I’m pulling the hair from my scalp over the blasé simplification and mindless exploitation of its powerful themes (hello, Ms. Meyers…). It would be difficult for me to cite a vampire film from the last thirty years that I’ve seen and can call my favorite. Modern flicks concerning the nosferatu tend to just fall flat with me, no more memorable than the last fast-food burger that slithered down one’s throat. Not so, however, with a little film from the '80s called Fright Night.

From the very first time I viewed Fright Night (on a double-bill with Creepshow, no less!), I knew that I had happened upon something magical. If I’m not mistaken, it was the very first modern vampire movie to have been viewed by my young, impressionable eyes. Up until that point I had only been acquainted with the likes of Lugosi, Lee, and the rest of the gang as they creaked their way through cobwebbed castles and crypts. This was an entirely new experience. Vampires in today’s world? My adolescent spine shuddered at the very thought. Not to mention the overt sensuality exhibited by the charming-as-hell Chris Sarandon and his bloodsucking brethren. Seeing the act of vampirism turned into an appealing and sexual act was a giant bombshell that went off in my brain. Like the ravaged wasteland of a real explosion, my perspective on vampires would never be the same again.

Fright Night is a wild ride, a film packed with homages to those Universal and Hammer terrors, but with a decidedly 80’s flavor. For instance, the vampire’s abode is your typical Gothic house squatting in an impenetrable mist and filled with ghostly antiquities. But a few scenes later we’re transported to a bustling nightclub where the synthesizers blare through the speakers and the dancers have more hair than the members of a werewolf convention. The mixture creates a highly electric and downright fun atmosphere that won’t be forgotten for some time. The powerhouse performances from the ensemble cast bring the movie to a whole new level. I could go on for days about how every role is fully realized and the amazing chemistry that sparks between each actor. Magic like this is a rarity, particularly in horror films. But somehow Fright Night makes it seem like a feat that can be accomplished with a passive wave of the hand.

I love watching movies made by filmmakers who actually love horror movies. The passion and hard work put forth shines in every shot, the loving product of a devoted craftsman. Fright Night is a prime example of just that type of genius. Even though some may see it at worst as only a fair parody of the vampire theme, I actually think it’s one of the sub-genre’s highest achievements. This is how the undead were meant to be seen. Sinister, mysterious, terrifying, and oh-so-seductive (no sparkles included). Fright Night is just the film I’d instantly recommend to anyone seeking a good time with some bloodthirsty friends. It’s everything you’ve been waiting for, with just a little more of a… bite.



Cinema Suicide's Bryan White on Dracula (1931)

My taste in horror trends toward the '70s and '80s, but not even I can resist the baroque charms of Bela freakin' Lugosi as the original vampire. Dracula is a movie that needs no introduction. Lugosi's performance was so intense and profound that even in times when the vampire was represented most commonly by Lestat and Edward Cullen, the cape and brow is still iconic. Slick your hair, throw on a tux and vaguely ceremonial medallion and you're instantly recognizable as Count Dracula 80 years later.

Tod Browning's movie throws most of Bram Stoker's novel out the window and it mixes and matches characters, but the major themes remain. It also represents the beginning of a golden age of horror for Universal Studios where every picture was drenched in crashing thunder and crumbling castles and unmatched performances by legends of the genre. Every god damn frame of Tod Browning's movie is deliberately crafted for maximum gothic. Shots of Lugosi frame his imposing presence perfectly and his intense, burning stare is highlighted frequently by a band of light across the eyes to entrance you exactly as his vampiric stare is supposed to be doing to the cast.

Dracula is fundamentally awesome; the text-book by which all horror films follow and a subtle exercise in how to sneak themes of kinky domination and submission into a movie made in a very chaste studio system. It plays a heavy hand at times, rubbing your nose in its intensity but this expertly crafted horror film is so perfect that it just doesn't matter if it feels excessive. The Count, his vampire brides, his accent and his sinister influence are such incredible storytelling elements and played so perfectly by Bela Lugosi that by comparison, the Harkers and Abraham Van Helsing seem like total downers. Not to put too fine a point on it, I love Dracula.

I'll tell you what else: Mexican Dracula is pretty cool, too.



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Head over to Brutal as Hell to see what Marc Patterson and his crew have come up with. And if you're interested in taking part in the future, just give Marc or myself a holler.

Week 1: Grindhouse & Exploitation
Week 2: Creature Features & Monster Movies
Week 3: Demons, Witches & The Devil
Week 4: Gore!
Week 5: Horror Comedies

Join us next week, when we get all brainy and tackle the sub-genre of psychological horror!

The Many Faces of Count Von Count

By Kevin Eslinger

By Jonathan Hoffman

Fear in Four Colors: American Vampire #1

By Paige MacGregor

Despite the recent Twilight phenomenon, the most influential vampire lore has traditionally originated in Europe. From F.W. Murnau’s silent film Nosferatu to Bram Stoker’s classic novel Dracula, the most enduring vampire tales have come straight out of places like Germany and England. Now, however, New York Times bestselling author Stephen King joins Scott Snyder and Rafael Albuquerque to create a monthly comic series that revolves around a new, distinctly American breed of vampire.

Well-known short story writer Scott Snyder’s contribution to American Vampire #1 tells the tale of a Jazz Age starlet-wannabe named Pearl and her roommate, Hattie. The two girls spend their days as extras on Hollywood sets, and nights working second and third jobs in order to make rent. When Pearl catches a lucky break on set and is asked to stand in for a light reading for the film’s leading lady, she finds herself swept into a world of decadence, invited to a ritzy party with the film’s elite cast members and other high society individuals. Unfortunately, what Pearl and Hattie discover among the Hollywood hotshots is something far more sinister than expected.

American Vampire #1 features Stephen King’s first comic book writing based on original material. King’s story, titled “Bad Blood”, tells the tale of an 1880 bank robber and murderer called Skinner Sweet. After being taken into custody, Sweet runs into an old enemy while being transferred. The scuffle that ensues gives birth to the first American vampire—perhaps one of the very same creatures that Pearl and her roommate have the misfortune of meeting years later.

The vampires in American Vampire #1 are a unique breed: stronger and faster than their European ancestors, American vampires are also more muscular and vicious than their predecessors as well. Although the first issue of the series leaves the recently bitten Skinner Sweet a bloody heap in the middle of the desert, we already know that he will make a formidable blood-drinker if his personality traits carry over during the transformation.

American Vampire #1 sets the stage for what will undoubtedly be a very interesting vampire story. Assuming that vampires have successfully infiltrated at least part of America (and an influential part, at that) by the time Scott Snyder’s story takes place, the comic series appears to be asserting that a single man could be entirely responsible for the proliferation of vampires in the continental United States. Had the goal of the vampire who turns Skinner been to create a strong, clever creature capable of surviving and even thriving, he couldn’t have chosen a better candidate. After all, the same qualities that made Skinner such a renowned criminal and allowed him to evade capture for such a long time will allow him to survive as a vampire.

When combined with a compelling storyline, the beautiful visual style of American Vampire #1 makes this a must-read title, especially for Stephen King fans. We have a feeling that the king of terror has more than a few tricks up his sleeve for the remainder of the series.

Chloe Moretz Goes Vamp in Reeves' Let Me In

By Paige MacGregor

The first image of Chloe Moretz in Matt Reeves’ Let Me In appeared online Friday courtesy of Entertainment Weekly (although the image quality isn’t great because it was only available in print and therefore had to be scanned for the internet). Moretz is best-known for her recent breakout role as the controversial foul-mouthed, gun-toting superhero Hit Girl in Matthew Vaughn’s Kick-Ass. When not decked out in a black mask and purple wig, Moretz looks like any other 13-year-old girl; vulnerable and innocent, perfect for her role as the unassuming yet inherently creepy young girl named Abby in Let Me In.

The image doesn’t give us much information about Reeves’ film, a remake of Swedish vampire movie Let the Right One In (based on the book by John Ajvide Lindgvist), unless you’re already familiar with the original. The blood dripping down Moretz’ chin in the still, however, does indicate that the actress gets to do some vampy stuff; and given her credentials, we’re hoping it’s more along the lines of Kick-Ass than Twilight. Regardless, the image confirms that Moretz really is involved with Let Me In (Let Me In is slated for release this October, and it was hard for me to believe I’d get another dose of the young actress in the same year as Kick-Ass), which has me much more excited about Reeves’ remake than I otherwise might be.

Despite the fact that I was bored by Let the Right One In (I know, I know, it’s an amazing movie and I’m going to re-watch because everyone tells me that it’s so good), I’m expecting quite a bit from Let Me In given the immense talent of Chloe Moretz, who reminds me of a young Natalie Portman in The Professional. I’m particularly curious to see Moretz’ portrayal of Abby, a mysterious girl who befriends the film’s protagonist, a 12-year-old outcast named Owen (Kodi Smit-McPhee). Let Me In will follow Owen, a lonely boy who spends his days plotting revenge on the children that bully him and his nights spying on the other inhabitants of his apartment complex. Owen meets and befriends Abby, a girl around his age who only comes out at night and always with bare feet, seemingly impervious to the effects of the elements.

Peter Hall of Cinematical.com had the opportunity to speak with Matt Reeves at SXSW, and at that time the director made comparisons between Chloe and Linda Blair in The Exorcist:

"When I was working on Chloe I kept saying, it's not about playing a vampire,
it's about taking her and making her real and to deal with those darker sides of
ourselves, the primal nature. When you think of the Exorcist you think of Linda
Blair and pea soup and all this madness, but really if you look at the first
half of that film, the stuff between her and Ellen Burstyn is so naturalistic
and so real. She's incredible in it! People think 'Oh, it's the Exorcist and
she's just doing crazy,' but she's so terrific in it and so believable as this
young, 13-year old girl. That was really what I meant in the approach of trying
to get into that tone. To take this story as if it were utterly real, and if
it's real, that would be horrifying."

For more information on Reeves' film, visit the IMDb page for Let Me In.

Lesbian Vampire Killers: More Than Just a Great Title

[Editor's Note: I'd like to welcome The Vault of Horror's newest contributor, Paige MacGregor of Fandomania, who joins us for the first time with a review of that recent UK horror comedy with the hard-to-miss name...]

In true buddy movie fashion, Lesbian Vampire Killers follows a pair of friends as they set out on an adventure into the wilds of the British countryside. After Jimmy’s “serial dumper” girlfriend Judy breaks up with him for the seventh time, Jimmy’s best mate Fletch—recently canned from his job as a clown—convinces Jimmy to go on holiday with him in order to forget about Judy (Lucy Gaskell).

Given their limited resources, Fletch and Jimmy set out on a hiking trip, leaving their destination to chance, and wind up in the small village of Cragwich. When the townspeople send Fletch and Jimmy to a nearby cottage, where they’ve already sent four gorgeous female university students also visiting the village, the two think they’re in for the time of their lives. Unfortunately, their weekend of debauchery is over almost as soon as it begins when the girls--Lotte (MyAnna Buring), Anke (Louise Dylan), Heidi (Tiffany Mulheron), and Trudi (Ashley Mulheron)--start mysteriously disappearing.

Lesbian Vampire Killers follows the traditional horror-comedy formula of movies like Shaun of the Dead, using exaggeration, comedic timing and over-the-top effects to poke fun at the stereotypes used in the horror genre. The film’s premise is a purposely ridiculous one, based on the idea that a powerful lesbian vampire queen named Carmilla (Silvia Colloca) cursed the village of Cragwich hundreds of years earlier, causing each of the girls in the town to turn into a lesbian vampire on her eighteenth birthday.

As is often the case in film, there is only one individual capable of killing the vampire queen once and for all—the last male descendant of the knight who initially killed Carmilla all those years ago—and it is that same individual whose blood can resurrect the vampire queen, making her more powerful than ever before. As those viewers familiar with this formula can imagine, it just so happens that one of our male protagonists is that particular individual, and it just so happens that he ended up in the village of Cragwich.

Each of the characters featured in the film represent an exaggeration of a traditional stereotype, from the exceptionally slutty stoner chick Trudi, to the overzealous village Vicar (Paul McGann) and his daughter, the soon-to-be-eighteen country beauty Rebecca (Emer Kenny). The way that Lesbian Vampire Killers’ plot hinges on these exaggerated character types, and on coincidence, does not take away from the film (as it might in a more serious genre,) but rather adds to its comedic nature.

As previously mentioned, Lesbian Vampire Killers functions very similarly to movies like Shaun of the Dead, but the combination of the dialogue provided by the film’s writers, Stewart Williams and Paul Hupfield, and the antics and repartee of actors Mathew Horne (Jimmy) and James Corden (Fletch) actually elevate Lesbian Vampire Killers beyond Shaun of the Dead and similar films, in my opinion. There are far more laugh-out-loud moments in Lesbian Vampire Killers than in any of the other British horror-comedies I’ve seen, making Lesbian Vampire Killers a must-watch for fans of the genre.

Retro Review: Dracula (1931)

"There are far worse things awaiting man than death..."

My last post on the most overrated horror movies of all time brought something interesting to my attention. A few people suggested that one of these films should be Tod Browning's original Universal production, Dracula. The reason this is interesting to me is that I both understand where these folks are coming from, yet I also strongly disagree with their assessment.

In my opinion, the 1931 Dracula is very slightly overrated, in that it gets often equated with James Whale's Frankenstein, a film which is superior to it. Nevertheless, I would not in a million years consider it one of the most underrated horror movies of all time, specifically because I think it is excellent. Flawed, but excellent. And it richly deserves to be one of the most famous horror films ever made.

Let's address the 500-pound gorilla first and foremost, and talk about Bela Lugosi. If you were to look up the word "iconic" in the dictionary, you may just see a picture of Lugosi as Dracula. The legendary Hungarian actor so completely merged himself with the role that to this day, we cannot think of the character without thinking of him. Literally. Say what you want about stagey-ness, but that's one seriously effective performance right there.

Lugosi, who had originated the part in the stage production, thoroughly and completely puts his mark on the role, forever transforming it--for good or ill--from Bram Stoker's conception of the Transylvanian count, with the assistance, of course, of Hamilton Deane and John L. Balderston's entrancing script. It is a script which drastically departs from Stoker's novel, taking the story in a sexually charged direction I don't believe was as strongly intended by the book, but which has permanently altered the vampire as perceived in popular culture.

On screen, Lugosi grasps your attention with a level of completeness that most actors only dream of. He is particularly strong in the first half of the film, during the scenes that take place in his native land, as well as his early encounters with Van Helsing, Mina, Lucy, and the other England-based characters. Stripping away the many decades of familiarity and kitsch that have accumulated around it, it is a performance that still has great things to offer.

And yet, for my money, the film's most powerful and memorable performance isn't even Lugosi--it's the impeccable Dwight Frye as the mad Renfield. Almost as iconic as Dracula himself is Frye's leering performance, complete with that unforgettable, oft-imitated laugh. There's a reason I named the Best Supporting Actor category of the Cyber Horror Awards after this man, and it has to do with performances like this one, in which he takes full advantage of his somewhat limited screen time to leave an impression on the viewer that lasts a lifetime. Every word that leaves his lips, every motion of his body, is perfection.

I will admit to a certain amount of stagey-ness to the overall production from a set design standpoint, even more so than other Universal flicks of the era such as Frankenstein and The Mummy. Dracula is quite literally a filmed play, and it's evident at times. And yet I consider this a forgivable trait of much early '30s cinema, which sees filmmakers still learning how to best make an effective sound picture in a studio. It's part of the experimentalism and maverick mentality that makes me cherish this era so much.

And this stagey-ness of the production certainly does not extend to the brilliant camerawork of Karl Freund, a German expatriate whose innovative talents for camera movement add a tangibly vibrancy and excitement to the film, most notably in the initial reveal of Dracula in his castle very early on. Freund's skills go a long way to counteracting the stagey feel of this adapted Broadway production.

When it comes to the kind of stiffness often referred to, the one actor who does come to mind is Edward Van Sloan in the role of Abraham Van Helsing. An accomplished stage actor who would later improve on what he could do in front of a camera, Van Sloan is indeed somewhat too stagey and deliberate, and a classic example of the bumps in the road that occurred as filmmakers continued to fine-tune the process of adapting to sound films--namely the type of dramatic performances that would work best in the new medium. It wasn't until Peter Cushing in the 1950s that filmgoers would get the definitive Van Helsing.

Dracula kicked off the venerable Universal cycle of monster movies, and while I wouldn't consider it the best of them, or even the second best, I do find it to be extremely effective and enjoyable, and the kind of film that I appreciate more each time I see it. It is hurt somewhat by a noticeably less engaging second half, degenerating just a bit from gothic horror into drawing room melodrama. Nevertheless, through it all, Lugosi and Frye keep us enthralled.

Some of the film's weaknesses have been attributed to director Tod Browning and his notoriously low comfort level with sound productions. An accomplished director of the silent era, he seems to be much more at home directing scenes which require the least dialogue. Some point to the famous wedding banquet scene of another classic of his, Freaks--a scene which could just as effectively played out without any sound, if not moreso. In Dracula, we get amazing, minimally verbal moments such as Renfield's encounter with the Brides, and the Count's subsequent "claiming" of him.

For moments like that, I'm also willing to forgive Browning's dated technique. He was a filmmaker with a flair for the visually stunning, and he puts that flair to great effect in this film.

In short, Dracula remains one of the most important and influential horror films of them all, with a level of quality that may not be at the exact same height as its importance or influence. Yet even if it's only to see Bela Lugosi create the most famous horror movie character in history right before your eyes, this is a film that is the very definition of a "must-see", and rewards the viewer each and every time. It is imperfect, yes, but it is also more powerful than the majority of horror films you will ever see.

Visceral Visionaries: Gustavo Lopez Mañas

Today I have a very special edition of Visceral Visionaries for you. I'm taking to visionary Spanish horror photographer Gustavo Lopez Mañas, whose work has appeared in the worlds of music, fashion, advertising and the movies. Yet despite the thriving mainstream career of this native of the gorgeous city of Granada (they didn't write a song about it for nothing), Mañas has always had a deep, abiding love of the macabre, and has thus always made a place for it in his work.

In fact, his sweetest gig of all has to be that he was an actual on-set photographer during the filming of the 2007 Spanish horror film [REC]. Despite being insanely jealous of this, it was nevertheless a pleasure to discuss it, as well as many other things, with Mr. Mañas...

I understand you were originally influenced by comics, tell me a little about this.
Yes, I started drawing comics books when I was 15, and then worked as an inker on super hero comics. Later, I finally discovered photography, and this gave me the way to express my ideas.

You're a formally trained photographer, what led you to want to explore horror-related themes in some of your work?
I've loved horror movies since I was a child, and I always have been interested on the feelings that they give us. That feeling is the one I also want to provoke.


You created an entire series on the theme of Le Fanu's Carmilla, what was it about that story that inspired you?
Carmilla is a very special story to me. Because it shows us how the relationship between two teenage girls can be as frightening as the fact that Carmilla is a vampire. And of course, it's one of the most important stories about vampires, which inspired Bram Stoker to write Dracula.

What is it about vampires that make them such a ripe theme for photography?
Well, vampires are very attractive characters, because they are synonymous with sex and seduction.


You also did some photography on the set of [REC], how did that come about?
I sometimes work for “Filmax”, one of the most important Spanish film production companies. They make many horror movies. I made around 10 horror movies with this company, and [REC] is only one of them.

What do you think made that such a successful horror film?
I think they thought it out so well--they knew how make a movie that people would like. And especially, they knew how to promote the movie. Sometimes it's almost more important to do good promotion than a good movie, if you want to sell it.


Your Hair Museum photography contains horror themes as well, particularly the Bride of Frankenstein... Tell me a bit about this project.
This project was created in 2002 with my friend and hair artist Jesus Martos. He thought it could be great to make a characters gallery, and wanted they it to have a very disturbing look.

Why do you think it is that there are images which can simultaneously be beautiful and frightening?
I think it's because morbid and frightening go together.


Of what work are you the most proud? Both horror and non-horror related.
Carmilla, is the work with which I really showed what appeals to me. Thanks to the help of a lot of friends, that was a fantastic experience for me.

Do you find that your horror-themed works informs your more "mainstream" work in any way?
I enjoy very much doing both, but for me, the mainstream work is just to pay the bills. All artists have personal and mainstream works.


What future projects can my readers look forward to from you?
Very soon, I´m going to finish a video clip that we made for [NYC rock band] Anthony and the Johnsons featuring performance artist Johanna Constantine, which is really special.

* Thanks to Stu of Buy Zombie for putting me in contact with Gustavo.

The Many Faces of Max Schreck

Barnes & Noble Lets You Talk to Anne Rice

Barnes & Noble will be doing something very special tomorrow for fans of the most important vampire novelist since Bram Stoker. And yes, I'm talking about Anne Rice, not what's-her-name. The author of Interview with the Vampire, Queen of the Damned and the rest of the Vampire Chronicles, as well as the Witches of Mayfair series and many other books, will be stopping by B&N's Facebook page tomorrow to chat online with her fans.

The live chat will take place from 1pm-5:30pm EST. Visitors must go to this thread link to participate. For more info on the event itself, the Facebook event page is right here.

Rice is promoting her new novel, Angel Time, which is the beginning of her new Songs of the Seraphim series. The series looks to be a combination of her past in thrillers and her more recent religious-themed work.

Vampires Take a Bite Out of the Big Apple

Being a city boy at heart, I truly love Manhattan, and try to get back there any chance I get. Particularly, I always loved hanging out in the Village, which is why it wasn't hard for me to be convinced when I was invited to come down and take a tour of NYC's most heavily hyped haunted attraction, Nightmare: Vampires. And I'm glad I did, as it was one of the best put-together haunted attractions I've experienced.

Some 30 years ago, in the summer 0f 1980, my family took a little vacation on the Jersey Shore that I'll never forget. The main reason I never forgot this trip after all these years was this amazing haunted house at Seaside Heights that my parents went into. Naturally, I was far too young, since this was an attraction geared at grown-ups, but I still got to peek through the bars and catch a glimpse.

I'll never forget one of the actors, a hulking brute, following my mom inside with a noose. He kept trying to put it over her head, but alas, she was wearing one of those gigantic sunhats so popular with women back then. Nevertheless, my parents had an incredible time, and still talk about it to this day.

Anyway, what I'm getting it is that now I finally have an understanding of what they experienced when they went inside those doors and out of my view.

Nightmare: Vampires is a totally immersive experience--a half-hour of mayhem that takes you inside the "MoVa", or "Museum of Vampyric Artifacts", a fictional collection of vampire lore and memorabilia that comes under attack from a bunch of unruly bloodsuckers, leaving the guests to fend for themselves.

I give credit to creator Timothy Haskell and director John Harlacher for creating a very believable and well-crafted setting and scenario. The "exhibits" were very cool to see--well, aside from the Edward Cullen statue. Really, guys?

Believe it or not, a couple members of the group I was with--not all the sharpest fangs in the mouth, I confess--thought it might have been an actual museum of some kind. So kudos to the crew for being so convincing!

Speaking of the teeming masses who were checking out the show on the night I was there, let me just back up for a second and say that this thing was packed, so these folks are doing something right. As Mrs. B-Sol and myself approached the building, we weren't sure where it was, until we spotted the immense line stretching the entire city block, and continuing on the other side of the street.

Of course, the wife and myself completely bypassed said line, just like a horror version of Ray Liotta and Lorraine Bracco, and were taken aside by a massive bouncer who whisked us straight into an elevator and up to the show. I believe this may have been the first time the wife realized there may be something to this whole blogging thing. Anyway, on the way up, said bouncer informs us what a crazy night it's been, as one person has already passed out, another had an anxiety attack, and a whole bunch of chicks have been breaking down in tears over this thing. Rock on.

But the point is, this show was quite the hot spot, so if you're inclined to check it out, get your tix pronto. It goes till November 7.

Back to the inside. For a temporary event, it was very well put-together. After all, unlike the aforementioned year-round Seaside Heights attraction of yore, this thing was specifically set up for this very brief run, and I was impressed with the amount of detail. Without question, the highlight of the whole show was literally walking directly into a Joshua Hoffine photograph.

How ironic that I had just finished reviewing his work here recently, when lo and behold, I found myself standing inside a stunning real-life recreation of his Countess Bathory photo, complete with blood-filled bathtub and suspended victim! Hoffine is one of the production designers for the attraction, and it shows.

Of course, it takes a lot to scare ol' B-Sol. Will I say I was honestly terrified? Not really, no. The actors did a fine job, and I was quite fascinated, but my years in the wrestling biz have hardened me to the reality of the con and the whole illusory nature of live, immersive entertainment of this kind. I admit it, I'm a tough nut to crack, but this isn't to say I wasn't highly amused and entertained.

This also isn't to say that my wife shared my jaded viewpoint. No sir--in fact, I would say that poor Mrs. B-Sol may have been the most freaked-out member of our entire group of guests. Specifically, there was this claustrophobic series of passageways--which one fellow guest aptly described as a "giant vagina", that you must pass through in total darkness and pressing heat. It's a bit of an ordeal, and the Mrs. almost lost it on me for a minute or two there.

The show boasts some very cool live special effects courtesy of art director Justin Haskell, particularly a bizarre vampire sacrifice scene involving organs removed, spurting blood, and blades appearing to pass through living flesh. Good stuff.

I don't know if anything could quite live up to the impressive hype machine of Nightmare: Vampires, but it is a very unique and ingenious thrill-ride, there's no doubt about that. I've been meaning to do a survey of haunted attractions across America at some point, and this one has a rep for being one of the very best. I can't argue with that, as it's easy to see what a quality production it is. If you're in the New York City area, and you enjoy these sort of live haunted attractions, I encourage you to check it out before the season ends.