Sam and his older brother Michael are American teenagers with their typical American interests. But after they move with their mother to the quiet town of Santa Carla, California, everything around them suddenly begins to change in the most mysterious ways. Strange changes happen to Michael, and his mother is greatly frightened by this unexpected transformation of her son.
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After her divorce, Lucy Emerson, along with her sons Michael and Sam and a husky named Noonook, packs up her meager belongings and goes to live with her father in Santa Carla.
A sprawling welcome sign at the entrance discourages him with the graffiti-inspired “Murder Capital of the World.” On the walls of the houses there is no empty space for announcements of missing city residents. From the speakers comes Jim Morrison’s voice: “People are strange,” and in front of my eyes is the best video that could have been made for this netherworld of the late Doors leader.
Bright sunshine, an eccentric taxidermist grandfather, green “grass” under the windows – it seems that the guys have a great summer ahead of them.
Michael’s new girlfriend casually covers her breasts across the wide screen, and her old friends are ready to welcome a new comrade into their ranks. Before he knew it, the boy had been turned, and when he guessed who, it turned out that the disease was already too advanced.
The only hope is the younger brother, who befriended the strange salesmen from the comic book store, who had been trained to fight evil forces, knowing exactly where to start and how to finish them off. The most important thing is to find out who’s in charge.
Schumacher presented an ironic thriller-comedy, tinged with a parody accent, the real horror of vampire cinema. The comedic component was guaranteed by the natural talents of Corey Heim, Corey Feldman and James Newlander, while the horror-vampire component is maintained, for the most part, by the efforts of the brutal Kiefer Sutherland.
Outwardly similar to Jim Morrison, Jason Patrick, as his image suggests, hangs between heaven and earth, managing to mark a successful performance in all his states.
The quality of the film is excellent. Non-boring, bright and dynamic, filled with the exuberant light of day and mysterious lights of night. The director’s aides include Michael Chapman’s flight-trained camera, Thomas Newman’s original sound and a brilliant musical backing of acknowledged rock-pop masterpieces.
There is, of course, more humor than adrenaline. Perhaps this may prevent ardent advocates of the “vampire” genre from adequately perceiving the liberties of Schumacher’s work, but people with a refined sense of humor will be presented with a lot of memorable pleasantness, for loose versions of Hitchcock’s “Psycho” (besides the grandfather-taxidermist there will be a bathroom scene, split personality and something else) are unlikely to leave them indifferent.
Additionally, it doesn’t hurt to know that the picture (to me – totally deservedly) won the Saturn Award from the American Academy of Science Fiction, Fantasy & Horror Films as Best Horror Film of 1988, and Corey Haim and his namesake, Corey Feldman were nominated and awarded Best Young Actor of the Year. Barnard Hughes was also nominated for a Saturn Award – his searing grandfather was, needless to say, firing it up in no uncertain terms.
Codec: HEVC / H.265 (72.3 Mb/s)
Resolution: Native 4K (2160p)
Aspect ratio: 2.40:1
Original aspect ratio: 2.39:1
English: DTS-HD Master Audio 5.1
English: Dolby Digital 5.1
English: Dolby Digital 2.0
French: Dolby Digital 2.0
German: Dolby Digital 2.0
Italian: Dolby Digital 2.0
Spanish: Dolby Digital 2.0
Spanish: Dolby Digital Mono
English SDH, French, German SDH, Italian SDH, Spanish, Dutch.