Abigail
A kidnapping that goes wrong in the most enjoyable way. Very wet, very fast, very funny.
1922 onward · 24 films
The most adaptable monster in the genre, and the only one that gets invited in.
The vampire survives because it can carry almost any subtext without breaking. Disease, class, addiction, sex, immigration, grief: put it on the vampire and the vampire still works as a monster.
Nosferatu (1922) is an unlicensed Dracula. Stoker's widow sued, won, and had the negatives ordered destroyed. Prints survived, which is the only reason the most influential vampire film ever made still exists. Max Schreck's Orlok is rat-like rather than aristocratic, and the film invented the idea that sunlight kills, which is not in the novel.
Dreyer's Vampyr (1932) barely has a plot and is one of the most unnerving films of the era, largely because of a soft-focus process Dreyer achieved by shooting through gauze. Later the same instinct produces Daughters of Darkness (1971) and Jean Rollin's entire career: films where atmosphere has completely replaced incident.
The best modern vampire films strip the romance out. Romero's Martin (1977) is about a boy who may simply be a disturbed teenager with razor blades. Near Dark (1987) makes them a violent family in a camper van. Let the Right One In (2008) makes the horror the grooming of a lonely child by something very old.
Vampires are also the genre's softest option, and the 1990s onward proved it. Once the monster is handsome and conflicted it stops being a monster. The films worth watching either keep it ugly or keep it hungry.
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A kidnapping that goes wrong in the most enjoyable way. Very wet, very fast, very funny.
An Iranian vampire western shot in California, in Farsi, in black and white. Nothing else looks like it.
Del Toro's first film, and the vampire is a grandfather trying to stay with his granddaughter.
Elizabeth Báthory in an empty Ostend hotel out of season, and it is the most elegant vampire film ever made.
Stagey, slow, and it has no score at all. Lugosi's face is the entire reason it survives.
A teenager works out his new neighbour is a vampire and no adult will believe him, so he hires a washed-up TV host.
A plane crash, an alien blob, and the single most striking red sky in Japanese genre film. Tarantino borrowed it.
Christopher Lee plays Dracula as a physical threat rather than a foreign gentleman, and it is over in 82 minutes.
A woman fresh out of a psychiatric hospital moves to a Connecticut farmhouse, and the film never confirms what is real.
Tobe Hooper's space-vampire epic, adapted from Colin Wilson, and it is completely insane in the best way.
Hopping Chinese vampires, a Taoist priest, and sticky rice as a medical treatment. It invented a whole genre.
Eggers going back to Murnau rather than to Stoker. Filthy, plague-ridden, and Orlok has a moustache.
Nicolas Cage plays Dracula as a toxic boss, and his familiar wants to leave the relationship. A horror comedy about codependency.
Coogler in 1932 Mississippi with twin Michael B. Jordans and a juke joint. Shot on 65mm and it shows.
Joel Schumacher's MTV vampires in a California beach town, and it made the genre cool for a decade.
A priest volunteers for a vaccine trial, dies, and comes back needing blood. Park Chan-wook adapting Zola.
Peter Cushing as a witch-hunter who is worse than the vampires, and the Collinson twins were Playboy's first.
A plague-quarantined village visited by a travelling circus, and it is the strangest film Hammer made.
The funniest vampire film ever made, and the flatmate politics are observed perfectly.