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Stars: Luke Roberts, Jon Voight, Kelly Wenham, Ben Robson, Holly Earl, Stephen Hogan, Richard Ashton, Poppy Corby-Tuech, Vasilescu Valentin | Written by Pearry Teo, Nicole Jones, Steven Paul | Directed Pearry Teo
Dracula is one of the most prolific, some would say overused, characters in fiction – from literature, to theatre, to cinema and television, Dracula has been one of The most re-interpreted horror monsters. Be it the well-loved Hammer movies, the silent black and white vampire of Nosferatu or more modern takes such as Francis Ford Coppola’s gothic take on the character, Dracula is often seen as one of the go-to horror icons. The character has even inspired a whole genre of vampire movies that, whilst not utilising the official moniker, are clearly influenced by Bram Stoker’s novella – and Dracula: The Dark Prince is no different.
Misunderstood, despised and hunted, Dracula (Roberts) is driven to pursue an ill-fated quest for »
- Phil Wheat
Most people these days know F.W. Murnau for his silent classic Nosferatu, but many have argued that his best work came after he emigrated to America and went to work for Fox. Specifically, Sunrise: a romantic melodrama concerning love lost and found, stands as perhaps the greatest cinematic expression of the Silent Era, and remains a treat not only for film buffs but for anyone interested in strong storytelling. Fox has just released a new Blu-ray edition of the film, and while it's not the Criterion Collection, it should prove more than enticing for fans and casual viewers alike. Hit the jump for my full review. Among its other notable aspects, Sunrise was one of the first movies to use an integrated soundtrack, though it remained dialogue-free and only music and audio effects were included on the film. In many ways, that's a selling point, since its haunting narrative needs no further embellishment. »
- Rob Vaux
Directed by John S. Robertson
During the silent era, the reinvention of visual horror allowed filmmakers and producers to experiment in film techniques that would become a mainstay in the genre’s mode of expression. Many of these relied heavily on makeup (Frankenstein, Dracula) or early pioneering special effects (The Haunted Castle, The Phantom Carriage), but some relied on more human sensibilities. Mere movement and facial expressions dominate the horrific tone in F. W. Murnau’s Nosferatu; Max Schreck’s grotesque, almost Korinian features have remained a cornerstone of vampiric imagery for nearly a century. In the same vein, John Barrymore managed a horror portrait in Dr. Jekyll and Mr. Hyde that has left John S. Robertson’s vision of the Robert Louis Stevenson story a target for restoration and preservation against countless other Jekyll remakes. »
- Zach Lewis
They are perhaps the most versatile monster we know. The vampire. Sometimes sexy, sometimes proper, sometimes feral, sometimes classic. The vampire comes in so many different forms.
There are so many to choose from. Vampires have been present in movies and television forever, so picking out the most vicious is no mean feat. We've done our best to narrow it down to the Top 11 but also have our usual honorable mentions to help flesh out the list (pun definitely intended).
We'd like to recognize the infected Alpha male vampire from I Am Legend; that dude was simply badass. In any version of Salem's Lot, be it either of the television mini-series or the book, Kurt Barlow has always been Type 1 brutal. Chris Sarandon's Jerry Dandridge in Fright Night »
- Scott Hallam
Directed by F.W. Murnau
William Fox had seen Faust, Nosferatu, and The Last Laugh, and on the basis of these German masterworks, he brought their creator, F.W. Murnau, to Hollywood. What he got was a truly distinct cinematic vision, which was what he had in mind: something to set a few Fox features apart from the other studios’ output. What he probably didn’t expect was just how much of that “artsy” European touch he was going to get with Murnau on contract. Were American audiences going to go for this type of movie, with its symbolism, melodious structure, and overtly self-conscious style? At any rate, Murnau’s first picture at Fox was one to remember. Sunrise, from 1927, is one of the greatest of all films. It is a touching, beautiful, and artistically accomplished movie, one of the best ever made, »
- Jeremy Carr
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