Marie has two appetites, sex and blood. Her career as a vampire is going along fine until two problems come up, she is interrupted while feeding on Sal (the shark) Macelli and she begins to... See full summary »
At the beginning of the film, we learn from one of the characters that earthworms can be called to the surface with electricity, but somehow it turns them into vicious flesh-eaters. Sure ... See full summary »
The Egyptian vampire lady Miriam subsists upon the blood of her lovers. In return the guys or girls don't age... until Miriam has enough of them. Unfortunately that's currently the case ... See full summary »
A wealthy San Francisco socialite pursues a potential boyfriend to a small Northern California town that slowly takes a turn for the bizarre when birds of all kinds suddenly begin to attack people there in increasing numbers and with increasing viciousness.
This vampire spoof has Count Dracula moving to New York to find his Bride, after being forced to move out of his Transylvanian castle. There with the aid of assistant Renfield, he stumbles ... See full summary »
Susan Saint James,
When a ship is wrecked off Whitby, the only survivor, Count Dracula, is discovered lying on the beach by the sickly young Mina Van Helsing, who is visiting her dear friend Lucy Seward. Lucy, her fiancé Jonathan Harker (a solicitor), and her father Dr. Jack Seward (who runs the local asylum) try to make the Count feel welcome to England. The Count quickly takes the life of Mina, and proceeds to romance Lucy, with the intention of making her his greatest bride. Soon after the death of Mina, the Sewards call her father Dr. Abraham Van Helsing to come to their home. As Lucy falls deeper under the spell of the Count, Dr. Van Helsing almost immediately comes to understand that his daughter fell prey to a vampire and discovers the culprit to be none other than the Count himself. Dr. Van Helsing, Dr. Seward, and Harker work together to foil the Count's plans to take Lucy away to his native Transylvania. Written by
Hillary Glendinning (email@example.com)
When Dracula hypnotizes Mina, he uses the line, "When I will something, it should be done." A line once used by Bela Lugosi when he gave his "Great Vampire Bat Illusion" on an episode of "You Asked For It". See more »
VanHelsing (surrounded by the men) prepares to "purify" his now 'undead' Mina As Seward and Harker question her actual state, VanHelsing holds up a small mirror for them, insisting Mina casts no reflection. As Jonathan takes the mirror and looks, you can catch a glimpse of her hair and some skin showing. (Original release only.) See more »
For years, I've listened to horror fans talk trash about the 1979 "Dracula." It's not faithful to the book, they'd complain, it's not scary, it's only made for the sake of middle-aged ladies who fancy Frank Langella, etc. etc.
Well, I'm happy to report that the horror fans are way off base this time. This "Dracula" is a classy, creepy, and sometimes downright exciting production. Sure, the script doesn't follow the events of the book exactly - the whole thing takes place in England! - but it makes the most of its limitations, so to speak.
Langella makes a very classy Dracula. He apparently refused to wear fangs or demon eyes for the role, focusing instead on making the count more "human" - not to mention arrogant, intelligent, and, I suppose, sexy (for me and other guy viewers, though, the eye candy in this movie is Kate Nelligan). Perhaps Langella is a little too "normal," and his big hair is slightly amusing, but on the whole I think he plays the role with dignity, inhabiting Dracula in a far more convincing way than the likes of Gary Oldman.
The rest of the cast is pretty good, too. Nelligan makes a lovely, capable heroine, and Trevor Eve is an OK (if underused) Jonathan Harker. Laurence Olivier's Van Helsing is a lot better than most people say he is - he comes across as smart, brave and an overall worthy opponent for Dracula. Reviewers tend to mock his Dutch accent, but I don't get too wrapped up in stuff like that; it sounds fine to me. I certainly think the cast here is much better than the parade of wooden actors and crazy hams in the Coppola version.
I like the production values of this film, too. The special effects are mostly photographic tricks but they look cool, and they aren't overbearing like modern CGI effects. The sets and locations are attractive, though the designers went a bit overboard with the Gothic ruin of Carfax Abbey (probably because they wanted to make it a substitute for the absent Castle Dracula). And, of course, the eerie John Williams score is a treat, and rightly praised by most critics.
Another plus is that the movie features a number of very powerful scenes - I love Dracula's confrontation with Van Helsing in the study, and the terrifying moment when Van Helsing encounters his vampire daughter in the mine shaft. Creepy stuff; no wonder this movie freaked me out when I was a kid!
On the downside, I found Dr. Seward, as played by Donald Pleasence, slightly too grotesque and lame to be believed. And, as usual for these Dracula adaptations, Renfield seemed borderline extraneous. The plotting flakes apart a bit at the end, too, with the car chase scene coming across as silly - and what, exactly, does the final image in the film mean? It's slightly too enigmatic for my tastes. I am supposed to be rooting for Dracula to survive or something?
Still, this is one of the better Draculas. The 1977 BBC version is more faithful and probably better. But this is arguably the best adaptation of the story to come out of Hollywood.
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