Opiniones de usuarios

This is an unusual and enjoyable film that may have ambitions beyond it's means but is nevertheless a very brave attempt to do something just that little bit different. We begin with Cheryl Smith as the angelic, purer than pure, Lila Lee, star of the local church and living under the protection of her minister in the absence of her gangster father. Both here and later in the scenes with the magnificent lesbian vampire, Lemora, played by Lesley Taplin (Gilb) there are unmistakable hints that these older 'guardians' have more than the interests of the virgin child at heart. The opening scenes in the church and the later ones in Lemora's residence are colourful and rather grandly shot but it is the sequence depicting the young girl's seeming trip to find her father that is most astounding. From the moment she leaves the protection of the minister, she seems not only most vulnerable but the sets seem flimsy and almost laughable, but I'm guessing that this was deliberate and that even the bumpy creaky bus with the unbelievable driver are all designed to let us know that maybe not all is how it seems here. After this great sequence we meet the impressive Lemora and various zombies but despite a rather creepy bath scene there is just a little too much, running about. Still, unusual and well worth seeing.

A dark, atmospheric little film, it is quite bizarre and intriguing to watch, with shadow enhancing lighting, flashy colours, great sets, and a fine lead performance by Cheryl Smith, who is a perfect choice to play an innocent uncorrupted. On the other hand, the writer-director gives off a somewhat restrained performance as a priest, and towards the end, the film heads off into rather messy territory, with excesses of horror and too many slow motion, plus it takes forever to wrap the story up. There are some interesting ideas at hand, and a few worthwhile production elements, but overall this is a film that is much more so interesting than it is great.

Modern audiences may be a little put off by this movie at first glance - just on account of its fairly low production values - but it's definitely superior to most films of its kind, although it's such a unique oddity it's hard to compare it with anything else. Lemora plays more like a dark fairy tale than a horror movie and I actually found it to be thoughtful and moving when I watched it through to the end. Atmosphere, a great story, and a likable and sympathetic protagonist are what make this movie work.

Lemora has got a southern Gothic setting, and it takes place in the 1930's, which gives the film something of the feel of the weird fiction pulp magazines that were prevalent during that time. However, in contrast to most of those tales, the main character in Lemora is a thirteen-year old girl, which gives the movie a sexual/lost innocence subtext in addition to the 'ancient horror' themes that are typical of that tradition.

Lila Lee is an angelic-looking church singer, who we learn is also the daughter of a murdering gangster. Upon receiving a letter from her estranged father (who is now apparently very ill), she sets out on a journey to reunite with him. Every male character she encounters comes across as a leering predator, with the exception of her guardian, the Reverend, who is a good man struggling with his desires to possess the young girl.

Once she leaves for Asteroth, there is no turning back for Lila, as it becomes more and more clear that no matter what should befall her on her journey, she will never be the same singing angel that she once was. And her future looks pretty grim. Stranded in a horrific swampland, she is pursued by its gruesome inhabitants - men who have degenerated into a pack of diseased and squealing brutes - into the domain of a mysterious vampire and her group of immortal warlocks. Cheryl Smith was perfect for this as Lila - her looks and expression throughout conveying Lila's fear and confusion and innocent faith and her longing for someone she can trust; if you can't believe in her, or Leslie Glib as the dark title character, the movie fails, but they pull it off wonderfully. I found the score and songs that were used in Lemora to be strangely moving and the sound effects were often genuinely creepy.

From what I've read, this movie got into some trouble with the church upon it's release and I think it was placed on a list of banned films or something. But, I think that the theme of Lemora would have to be badly misconstrued for it to be seen as offensive in the way that its detractors would probably suggest. There is really nothing polemical or anti-Christian about it that I could see; and the movie treats its devout characters with affection and understanding as they struggle with themselves and the darkness that surrounds them. The ending, while not upbeat, is consistent and honest and makes you feel something. And leaves you thinking.

I own the great-looking DVD of Lemora, and the Synapse company did a terrific job with this movie. It was released in late 2004, with a dedication to the memory of Cheryl Smith, who passed away in 2002. I remember seeing her name (appearing as Cheryl Rainbeaux Smith) in association with a lot of drive-in type horror movies and teen sex comedies, but for years she was just a semi-familiar name to me. But within the last couple years I happened to see Caged Heat and Laserblast again, and came away thinking that there was something unique about this actress. Her presence was always natural and uncontrived, with a sad vulnerability in her eyes and a dreaminess about her that seemed to come from some place beyond this earth.

I was a young child in the 70s when these movies, like Lemora, were released. The adult content of many of the drive-in films of that era obviously kept me from seeing them when they first came out, but I enjoy going back and watching them now, and I've always found the feel and style of that pre-blockbuster period to be oddly creative and interesting. But it also may be that I feel a lot of nostalgia for those naive and carefree times in my own life, when I would have had a small boy's crush on a blonde-haired starlet like Cheryl Smith. I'm not sure I remember seeing any of Cheryl's movies when I was young, but in some way I associate her with a lot of the joy and fascination of those times. I imagine that many other people do too.

Cult starlet Cheryl Smith is absolutely mesmerizing in her role as the young and sheltered daughter of the town minister, who runs away from home in search of her lost father. 'Lemora' has all the qualities necessary for it to be the cult classic that it is; It is surreal, strange, and perversely erotic. And it is one of Cheryl Smith's earliest screen appearances. If you have seen "Caged Heat" than you are familiar with this actress. And while not being the greatest actress ever, Smith possesses an undeniable and powerful screen presence, which is recognizable here. As "Lila" travels through the dark, foreboding forest after receiving a strange letter, stating that her criminal father is ill and needs to see her, she encounters and endless stream of sinister men, and later, some zombie-like children in one terrifying sequence. Lila doesn't yet realize that she has been summoned by Lemora, a sinister woman who lives in a great old house, that is filled with strange children. Laced with erotic symbolism "Lemora" is inevitably about the loss of innocence. Hypnotic, dreamlike, and filled with beautiful Gothic imagery, and appears as a kind of fairytale for adults, as I imagine children would be absolutely terrified by this! This unique film would be perfect but for a couple of sequences near the end, the first when Lila escapes her captor and is running through the woods, and than through a creepy, abandoned building. These scenes of Smith walking around in the shadows really are dragged out for too long. Also the "Battle sequence" at the films climax is very sloppy, and some tedious slow motion effects don't work. This is sad because the film is so hypnotic, really trance-inducing, until you get to these sloppy scenes, and the illusion is temporarily interrupted. I believe with just a little re-editing of those scenes this film could be truly exquisite. Fortunately it all redeems itself at the end, when the Reverand finds his much-changed daughter. Anyway do not let this slight imperfection dissuade you from seeing this wonderful, beautiful cult film. The restoration that Synapse has done for the new DVD is pristine, and this is well worth the price. Not much here for the gore hounds, but for fans of classic, Gothic horror, "Lemora" is essential viewing.

A young girl (Cheryl Smith) who returns to her hometown to see her dying father finds herself being drawn into a web of vampirism and witchcraft.

All I can say about this film is that it strikes me as the sinister version of "Alice in Wonderland". A young girl enters a world she is unfamiliar with, with people and places that are far outside the norm and outside of logic.

The idea of their being the higher, classy vampires and the lower, more monstrous vampires was an interesting idea and one you rarely see. In fact, no other examples immediately come to mind. This does make some level of sense.

Of course, the film also has a slight "erotic" side to it (very slight, but still there). And there is a strange use of religion that probably deserves an essay all its own, but is not going to be getting it from me.

"Lemora" is like a fun house ride in the dark. Most night scenes are way too dark for viewing, and while it creates a foreboding atmosphere, eventually it becomes redundant. Strange and creepy characters jump about, much like the above mentioned amusement park ride. Long periods of meaningless dialog grinds the film to a halt, but since it really goes nowhere, you are not missing much. This is really just a meandering nightmare with scrambled images, a garbled script, and amateurish acting. All this adds up to nothing more than an hour and a half of hide and seek in the dark. Pretty boring stuff if you ask me. Not recommended. - MERK

I first read about this obscure 70s vampire flick a couple of years back, in one of my numerous reference books on hard-to-find films. Having never heard of director Richard Blackburn at the time and being a fan of the more exotic and offbeat in cinema (not to mention that I was extremely keen on seeing the film), I decided to try to locate it on VHS. Unfortunately this would turn out to be an almost impossible task (as with most films of this kind), and I soon grew disillusioned and frustrated, recognizing the sad fact that I would probably never even get to see the film. Luckily this would soon change: A few weeks back I was lucky enough to come across a rare Greek pre-record/ex rental tape of the film, and, not hesitating for a moment, I bought it. Needless to say, this was a decision I have NEVER regretted since!!

The reasons for this are simple: "Lemora" (aka: Lemora-Lady vampire, The legendary curse of Lemora) is doubtless one of the best horror films I´ve seen in years, a classic that deserves to be right up there with "Night of the living dead", "The exorcist" and "Evil dead". First time director Richard Blackburn creates a chilling and highly original supernatural tale of religious anxiety, repressed sexuality and initiation, a debut film that leaves a lasting impression on both the hearts and minds of anyone lucky enough to see it.

Plotwise, the film follows a young Christian girl (Lila Lee, portrayed by Cheryl Smith), the daughter of a wanted gangster, who leaves her home town to visit her father on the death bed. As it turns out this is all a set up, and Lila soon finds herself under the spell of a female vampire called Lemora. She is the leader of some sort of religious cult in a small village deep into the woods and she plans to initiate the young girl in the cult´s activities. The young girl, sensing that something is wrong, flees from Lemora´s grasp and tries to find a way out of the labyrinthine woods. But will she make it?

Overall this is a beautiful, poetic and hauntingly surreal adult fairy tale, the horror film equivalent of "Little Red Riding Hood" (though with some modifications). Although shot on a very low budget, the film manages to overcome all its budgetary constraints and deliver a final product with more (emotional) impact than a dozen modern horror films combined. The film is genuinely creepy and atmospheric, with an almost Gothic flavour reminiscent of Hammer and Benjamin Clark & Alan Ormsby´s "Children shouldn´t play with dead things". The performances are all excellent, and the make-up & gore effects are surprisingly good, adding to the creepiness of the story. Add to all this a charismatic lead (Lemora, convincingly played by Lesley Gilb) and you have all the characteristics of a cult classic; A unique, mesmerizing film experience full of "primitive" energy, a film where you find yourself drawn into a mysterious world, yet where you can´t really describe why the film appeals to you.

What most viewers have either failed to recognize or not bothered to comment on though, is the fact that there is so much more to this film than meets the eye. Underneath the surface this intelligent & well written little low budget gem is a complex allegory (or parable if you will) concerned with questions of faith, the process of growing up and the duality of man. The whole film is one long symbolic journey, an odyssey, into the darkness of man´s heart; A journey from childhood to adolescence (leaving the childhood illusions and facing the real world), from oppression and self-deception to freedom and self-recognition. The main character leaves her safe, protected & idyllic sanctuary (church/local community), and stumbles into a frightening and nightmarish world of violence, darkness, death and lust. One the way she encounters numerous dangers and temptations (she succumbs to many of them), and she gradually changes from a young, innocent beauty with little knowledge of the world, to a mature woman who has both seen and felt death. Throughout the journey her believes are questioned, and one by one her pietistic fears are taken form her, as she finally recognizes her true nature (from which there is no escape). The characters, as well as the setting, all have a symbolic function and significance; The young, pristine girl (symbolically dressed in white; Innocence), the vile, savage, beast-like creatures out in the woods (man´s uncontrollable primal urges, sexuality, the beast in man), and Lemora (forbidden knowledge, freedom, breaking free of chains, immortality). Yes, Lemora probably symbolizes everything we do not want to face, the darkness deep inside of us.

As for themes, the film is concerned with religious hypocrisy, the breaking of taboos (sexual and others), good vs. evil, light vs. darkness, sin, and most importantly of all, recognizing the darkness within ourselves (an aspect of man that Christianity refuses to accept and for centuries has tried to suppress). The film does not draw any conclusions though, and the ending, which is both ambivalent and a bit confusing, leaves one to ponder. Did it all just happen in the young girl´s mind, and is this a film that criticizes religion as narrow-minded and suppressive or that embraces it? Personally I feel it´s the former, but some of you may disagree.

Anyway, this film comes highly recommended!! Any serious horror fan should seek out this classic at once (you´ll probably have a hard time locating it though!) And if you ask me: It´s definitely about time that this horror masterpiece gets a DVD release (Anchor Bay, please read this!!).

In early 30's America, a girl (Smith) who lives with a minister is summoned by letter to the town of Ashtaroth to visit her dying father, a gangster. There she encounters horrific beings in the woods and the curiously calm and collected Lemora (Lesley Taplin), who welcomes her into her Victorian mansion. Horror ensues.

"Lemora: A Child's Tale of the Supernatural" (1973) is colorful dreamlike horror by one-shot director, Richard Blackburn, a college student who concocted the story with a pal inspired by "Count Yorga, Vampire" (1970). Blackburn, by the way, plays the minister.

An alternative title is "Lady Dracula," which is fitting since the story is reminiscent of the first part of Dracula, just exchanging a teenage blonde for Jonathan Harker and Lemora for the Count, not to mention switching the setting to Prohibition Era America. It's similar in ways to the haunting "Messiah of Evil" (1973) except with a younger protagonist and the milieu of the early 30s. Francis Ford Coppola presumably borrowed bits for his horror fantasy "Twixt" (2011).

The lovely Cheryl "Rainbeaux" Smith was only 17 during shooting and has a genuine innocent quality. She appeared in many 'B' flicks throughout the 70s/early 80s, but fell prey to hard drugs and contracted hepatitis, which ultimately killed her by the too-young age of 47 in 2002.

The film runs about 1 hour, 25 minutes, and was shot in Pomona, California, e.g. The Phillips Mansion, and nearby San Dimas (to the north), both a 20-minute drive east of Los Angeles.

GRADE: B-/C+

This highlight of seventies horror cinema is a vibrant and lush Gothic fairytale story of a young girl's odyssey as she searches for her father in a world of vampires and demons that wont hesitate to take her innocence at any opportunity that they get. Richard Blackburn's film takes influence from a number of sources across both film and literature, but in spite of this; the writer-director has managed to mould together a tale that is both haunting and original. The story follows Lila Lee, the daughter of a notorious gangster who, after finding his wife in bed with another man, proceeds in blowing both her and her lover to bits. Shortly after her father had fled the town to avoid the law, Lila Lee receives a letter telling her that her father is on his deathbed and wants her to come and see him. Only thing is, this letter is signed 'Lemora'. The film plays out like an offbeat coming of age drama, with the innocent young Lila Lee learning that all is not as it seems, and that danger lurks around every corner. The supernatural elements serve brilliantly as a metaphor for the similar dangers in real life.

The acting in Lemora clearly isn't the most important aspect of the film, but there are still some notable performances on display. Cheryl Smith takes the lead role as the angelic Lila Lee, and completely looks the part as a bewildered young girl in the centre of a world she knows nothing about. The title role of 'Lemora' is taken by Lesley Gilb. This actress doesn't have a film credit to her name after this film, and it's not really surprising as despite looking the part; her performance is wooden in the extreme. Writer-director Richard Blackburn is surprisingly effective in his small role as a reverend. He completely convinces as the odd god fearing preacher. Really, though, it's the more aesthetic elements of the film that rule; and the atmosphere and the make-up are absolutely excellent. The nighttime filming helps to create a sense of danger at every turn, and brilliantly compliments the fear that the child at the centre of the story is feeling. The make-up is effectively done, but not overdone; which makes the monsters feel very real despite their otherwise otherworldly appearance. Lemora, despite it's low budget and inexperienced crew, is a surprisingly professionally done film. While most films released at this point in time relied on high body counts and gore levels to draw audiences; Richard Blackburn has put the focus on story and atmosphere, and that is why Lemora is the enduring, albeit lost, classic that it is today.

Director Richard Blackburn was quick to point out his directorial debut's awkwardness and oddities, but there's a lot to like about here. With her serious yet vulnerable person, Cheryl Rainbeaux Smith as Lila Lee arrests you. The bright colors, costumes and make-up give the story a surreal tale quality for children that is both original and disturbing, combined with its adult themes. This is an excellent dark fairy tale, not for children, but about them and this precarious time between childhood and adolescence when the world loses its bearings.

Sorry, folks. I felt i needed to be the dissenting voice for all those who come to this movie (as i did) thinking that it was going to be an undiscovered gem.

It isn't.

Atmosphere? Um, not so much. Acting? SO bad, painful bad. It reminded me of watching bad children's theatre, where its okay, because they're kids, right? They don't know any better because....they're kids. Anyone who has seen a real movie with real actors will have a real problem getting through this one. And believe me, i have seen A LOT of "non-mainstream" horror, and this doesn't have much going for it. Sorry.

It isn't hard to see why 'Lemora' was condemned by the Catholic film society. It's the story of a pubescent girl's fall from innocence and her sexual awakening, told in a 'fairytale for adults' manner. There are some amoral scenes to sit through with hints of lesbianism between the child and her vampire tutor that occasionally come across as sleazy, especially when the pubescent girl is given a bath by Lemora ('What an exciting figure you have').

Ambitiously set in the 1920s, a gangster brutally murders his wife and her lover before disappearing into the country. His thirteen-year-old daughter, Lila Lee (played by Cheryl Smith*) is cared for by the Reverend Mueller (director, Blackburn), who secretly houses sensuous feeling for his little choirgirl. Lila is delighted when she receives a letter from the mysterious Lemora, detailing her father's deteriorating condition. Lemora demands that Lila be present at her father's bed immediately. Lila's journey to Lemora's hidden cottage, through dense dark woods is constantly plagued; firstly, by lecherous older men, then a psychopathic bus-driver and then a group of fanged beasts who chase her from the bus. The seductive Lemora's house is filled with children, all of whom are part of her growing legion of vampires. The Reverend has decided to admit his sordid desires to Lila and begins to search for her. You'd think that was enough plot development, but after this point more twists follow, which might confuse some viewers.

'Lemora', a late night TV favourite, is considered to be one of the classic vampire films of the early seventies, opposite 'Count Yorga, Vampire' (Bob Kelljan, 1970). There strong sexual overtones and the corruption of innocence storyline were the prime reasons why the Catholic Film Board wanted this film banned for almost twenty years. Due to its lack of budget, (poor sound and sketchy cinematography) and European feel, the film often looks like a porn film which doesn't help matters concerning the sexual connotations, but they're never really presented in a exploitative manner.

This is a very likable and intriguing movie to watch but man, is it odd as well!

To be frank, I couldn't really always follow the story but I also can't say I cared all too much about it. This is a movie that is all about its atmosphere and in that regard this is still a good and also certainly unique movie to watch.

Nothing in this movie ever feels as if it's taking place in the real world. It has a surreal kind of feeling to it, all throughout and the movie feels more like a sort of dark fairy tale. It has an almost Alice in Wonderland-gone dark kind of vibe to it but not really the budget to pull it all off. It's still a low-key and cheap little movie with still plenty of good and original ideas in it though.

I can see how people can be taken by its atmosphere and why some people consider this to be one great and scary horror movie! It has some real classic horror ingredients in it, which actually seem to be taken from the more old fashioned type of horror productions, from the 1930's. It wasn't exactly scary in my book but I still was very fond of the movie its atmosphere and oddness.

The overall movie is still a bit too strange though, with all of its characters, storytelling and the story itself. A better, or more clear, main plot line would had helped this movie a lot. It would had given the movie more focus and a more clear point to it all.

It's still a perfectly watchable movie but not really one everybody should rush out to see right now. Just watch it when you get the chance. Chances are you might end up really liking it, since it's still clearly something unique, even almost 40 years later now.

6/10

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"Lemora: A Child's Tale of the Supernatural" is an overrated and ambiguous nightmarish vampire cult movie. The storyline of a Christian teenage girl raised by a Reverend that decides to travel to a town to seek redemption for her father that is a gangster and stumble upon a creepy horde of vampires commanded by the mysterious Lemora is promising. The cinematography in the dreamlike style of a nightmare is magnificent and the ambiguous conclusion is intriguing. Unfortunately the screenplay is a complete mess without character development. The sweet Cheryl Smith that performs the angelic Lila Lee in her debut in the cinema industry had a tragic end with the use of heroin. My vote is four.

Title (Brazil): "A Maldição de Lemora" ("The Curse of Lemora")

Richard Blackburn's "Lemora:A Child's Tale of the Supernatural" is one of the most atmospheric horror movies I have ever seen.It is filled with incredibly haunting and hypnotic atmosphere that left me speechless.This wonderfully uncanny horror film was filmed in 1973 and released in 1974 only to be banned by the Catholic Film Board.The acting is excellent-Lesley Gilb is especially memorable as a hooded and pale Lemora.She is a haunting and sinister character,who reminds me the myths of Lamia and Lilith,vampires who drink the blood of children.Cheryl Smith is also outstanding as a young 14 year old Lila Lee."Lemora:A Child's Tale of the Supernatural" is a masterpiece of atmospheric horror-for example the scenes with Lemora's vampire children are extremely eerie.A must-see for horror fans.10 out of 10.

Returning to her hometown to tend to her father's death, a young woman finds the area overrun by a vampiric cult of witchcraft practitioners and their zombified slaves and forcing her to find a way out of town alive.

This turned out to be an interesting if severely flawed effort that has some good stuff going for it but is ultimately overrun by it's flaws. One of it's biggest flaws is the absolutely irritating inability to understand what's going on through it all since the entire film's dream-like atmosphere and pacing make it impossible to know if we're in a dream world or reality, and as nothing really prescribes to an established set of rules or preconceptions it makes for a hard time getting into this one, especially since there's a lot of time spent where nothing happens and we follow her around doing absolutely nothing. This makes it pretty hard to understand the villains motives and purposes since they never really explain them, and as a whole it's pretty hard to make anything out in here. That said, the positives are really good, as the dream-like atmosphere here is perfectly played and creates a rather haunting quality that makes this imminently watchable. Also, the sheer creativeness of it all, incorporating a virgin-like heroine with vampires, witches and zombies in a decrepit town makes for a real blast, and overall it's generally good parts are found when those are being utilized, especially the climax where the vampires appear as hallucinogenic fragments of her imagination and begin launching a vicious attack on her that makes for a really rousing time. Still, though, they're not enough to make this overcome it's flaws.

Rated R: Violence, Language and Brief Nudity.

Seems to me a bit overrated on IMDb based on the reviews I have read. I did not get around to seeing this movie until recently, even though I am a veteran movie buff who has seen many hundreds of 70s films and most of the horror ones. Lemora has some OK atmosphere and lots of things jumping out of the screen, but it will ultimately have little impact on today's modern movie viewer. The action and the scenes become quite redundant after about 20 minutes, and the ending is obvious and inevitable. I did like some of the "70s horror atmosphere" and the curiosity/cultish feel to the whole thing, but again, unless this alone can carry a film for you, which for me it increasingly does not, I would skip it or watch it while doing something else. 5 out of 10 rating means below average to average.

I saw this movie late one night; I must have been 10 or 11. What I remember most was the song of the nightbirds in the nocturnal outdoor scenes, and how I would hear the same song as I laid in my bed at night in East Texas. To my young and overly active imagination, this could only mean Lemora was in my neck of the woods, and because of this I knew for sure I was on her list of little girls to take away to experience the wonders of the night. A striking and strange movie, with one of the most captivating vampiresses on film. If you ever wanted a vampire for a mommy, this one's for you!

I vaguely remembered this movie from watching Elvira ( Mistress of the Dark) back in the early 80's. So this movie must have been categorized as a low-budget amateur production for being featured as a relic on Elvira. But it did strike a chord with me since I remember the creepy villain, Lemora, and her prurient obsession with this nubile girl. Perhaps it was the sexual innuendo that drew my attention. But I was only a teenager at the time so I was undergoing the early stages of my sexual awakening and couldn't form my thoughts about this theme.

Fast-forward 30 plus years later and I notice this movie on Youtube under some 1970's Horror video of some sort. It was then I had to watch this movie to satisfy that vague memory that left me latently curious. I have to say that the overall idea of the Vampire lesbian was enticing. The atmosphere, as noted numerous times by other reviewers, is remarkable considering the production's meagre budget. But the plot has a couple of problems that don't follow through with the initial setting. The gangster fugitive never gets resolved. It only serves as a premise to lead our nubile character, Lila Lee, into an inexplicable and random world of evil and witchcraft. The zombie characters that roam the forest and attack readily are unclear to me. Are they helpers of the Vampire Lemora or are they just wandering mutants to serve as haunting background? I understand that this is a morality tale that shows how the holy are tempted into sin and that evil can ruin anyone's salvation, but the meandering pace and deliberate tempo seemed to drag.

The standout of the film is the presence and performance of Lesley Taplin, Lemora. She has a truly unnerving and frightening presence. Her skeletal features, deep-set eyes and black coif are enough to affect the most unshakable viewers. Watching her overpower and seduce the fragile Lila is curiously sinister and uncanny. Her purpose is to make this young and angelic girl her bitch and transform her into one of her everlasting victims. The set designs, lighting and camera angles are quite effective as well. The sound effects are horrifying and chilling, if not a bit over the top. Cheryl Smith's performance is adequate if not totally bland. But she is too pale and thin to pass off as some sexually enticing dish. Sorry, but this was a miscast.

The finale was just a ridiculous mess. It simply didn't work. Watching those vampires, dawned in black cloaks and brim hats, bounding over church goers in slow motion didn't make sense on a logical or even a symbolic level.