Quando Chega a Escuridão

I hunted this film for ages and then it came out on DVD, so I had to buy it. Originally, it was purely due to the cast. I thought it would be good though and I was not let down, in fact, my expectations were well exceeded. Near Dark is my favourite vampire film and I am proud to be part of the cult following this film has gathered years since its release.

The camera work is great, Bigelow does a really great job in the director's chair and always does her best to make a film look as visually impressive as possible; it's hard to believe this was a low budget movie. The screenplay for the film is excellent and very original. Near Dark is very different to other vampire films and it really is refreshing to watch something so different. Where most vampire films bathe in Gothic undertones and romanticise themselves, Near Dark is much more subtle, even to the point where the word 'vampire' is not included within the picture. I can see why Kathryn Bigelow and James Cameron ended up married briefly as they both have similar integrity when it comes to film making.

The casting of the movie is its best point. The Aliens trio of Paxton, Goldstein and Henriksen were brilliant in this. Paxton and Henriksen are two of my favourite actors and I believe this is the best character Paxton has ever played, even Hudson does not compare to the mighty Severen! These three actors all excel at playing ruthless characters and do a great job at making Near Dark as entertaining as possible. In the midst of all the carnage, Adrian Pasdar and Jenny Wright do very well in bringing Near Dark down to earth. The chemistry between the two is very good and the characters are effective as they provide contrast between the other main characters.

I feel I must talk about the bar scene. As soon as that music kicks in, you know some on screen magic is about to happen. This is where the Aliens cast members really shine. Paxton is spitting out more clichés than he is blood. Also, as a big Terminator fan, I had to notice the bar patron as the T-2 'You forgot to say please' guy. I think he should stay away from bars from now on! This is what the film builds up to and this is the turning point of the film from a mainly character piece to a nail biting thriller. This is one of the most enjoyable and memorable scenes you will ever see.

Near Dark is a fantastic film, sadly overlooked due to people drawing too many comparisons between this and Lost Boys. This is far superior to Lost Boys as this has far more substance and more than one memorable character. With gruesome imagery, streams of blood and Bill Paxton and Lance Henriksen, this is the ultimate vampire film.

Caleb Cotlton (Adrian Pasdar) is a young man living an unspectacular life in the dusty wilderness of Oklahoma. One night he encounters at lusty femme fatale vampire and this small town boy is changed forever... or at least for the next 80 minutes.

Near Dark has garnered a reputation as the thinking mans Lost Boys. Over the years it has attracted a cult following and retrospective critical plaudits. There is no denying that the film has many strong elements that are worthy of considerable praise but as a whole this film falls flat when faced with closer scrutiny.

The first thing that strikes you when watching Near Dark is the thick atmosphere that the dusty twilight generates. The numerous low angle long shots help carve the inhuman creatures into the scorched landscape and the moody, tension building score just about manages to avoid that oh-so 80's feel.

The ensemble cast, featuring Bill Baxton and Lance Henriksen amongst others, is a delightfully perverse and diverse bunch of freakish and menacing killers. But they are given neither back-story nor the exposition of time and space in which to grow or develop.

Kathryn Bigelow is a filmmaker comfortable with directing action. In fact she excels at it. A sequence in a redneck bar where our motley crew of vampire desperados massacre the patrons is expertly done, the sense of grotesque fear and hopeless desperation is emphasised with a series of fixed shots on straddled limbs and open wounds when most directors would flinch after a few seconds and point the camera elsewhere. Similarly the shootout with the police at the motel is a fantastic and gory adrenaline fuelled piece of slightly soggy popcorn entertainment.

While Adrian Pasdar's Caleb is both bland and one dimensional, Bill Baxton shines are the psychotic Severen. Paxton's wild eyed portrayal of a cowboy killer is one of the highlights of the film.

As the end of the movie approaches it becomes clear that all the promise is slowly being squandered alongside any sense of plausibility. The bad vampires burn up in the sun after only a few seconds, the good vampires last for weeks, Caleb blows up a truck but pulling a handbrake, a simple blood transfusion administered by a farmer cures our hero of his carnivorous tendencies and the once powerful uber-vamps cannot seem to kill a little girl and her teenage brother no matter how hard they try.

Overall Near Dark deserves praise; the evocative atmosphere is second to none, the action is brutal and stylish. But there is complete lack of plausibility in terms of plot. The lack of motivations for the characters and an unwillingness to grant even the most prominent with a back-story make Near Dark a near miss. More money and a longer running time and this could have been something very special indeed.

Near Dark is directed and written by Kathryn Bigelow with Eric Red also credited for the screenplay. It stars Adrian Pasdar, Jenny Wright, Lance Henriksen, Jenette Goldstein & Bill Paxton. The score is provided by Tangerine Dream and Adam Greenberg is the cinematographer.

A small Oklahoma town and Caleb Colton (Pasdar) meets Mae (Jenny Wright), an attractive young drifter. They chat, they flirt and just before sunrise she bites him on the neck before running away. Welcome to your new vampire family Caleb……

It's now written in scripture that Bigelow's Vampire Western failed miserably at the box office and quickly vanished into the shadow of Joel Schumacher's popular Vampo piece, The Lost Boys. However, thanks to VHS interest, the film refused to shrivel up and blow away when the sun came up. Over the years the film has garnered a cult fan base and been reappraised by many of the front line critics to great reviews. So much so that now it's considered something of an enigmatic & poetic classic that's directed by a hugely talented female director.

With its core story the film offers nothing new to the vampire sub-genre. The blood as a drug/thirst motif was long ago penned by one Bram Stoker. But Near Dark is not interested in traditional vampire mythology, this is a modern spin where garlic, bats, crosses and stakes are neither needed or thought about. In fact the word vampire is never mentioned in the film. This is, all told, a film about the human side of the night dwellers, we hop inside their blacked out bus and hit the road; along with the confused and conflicted Caleb. What follows is touches of savagery and touches of ethereal beauty-beauty that comes not from Gothic touches, but from dusky Western surrounds. Photographer Greenberg blending oater stylings with moody horror atmospherics, his light work carrying a sexy sheen that dovetails smartly with the "family" and their life when the sun has gone from the sky. It's seductive, it's what Bigelow wanted and got, the mood created helps us to understand how easy it was for Caleb to be drawn to Mae in the first place.

That Bigelow chose to hire Greenberg {and to utilise him to the max} obviously aids the film no end. That she surrounded herself with quality character actors was something of a master stroke. This allowed her to focus on the tone and flow of the piece, safe in the knowledge that Messrs Henriksen (great character depth), Paxton (a bundle of film stealing energy) and Goldstein (savvy) were carrying the film safely to its Western style finale. Lest we forget the efforts of then unknowns Pasdar & Wright, both pretty and perky, for they too instill their characters with a warmth and tenderness that belies the blood shedding that surrounds their coupling. It's also noteworthy that we are not being asked to sympathise with the addiction plight of the "family," understand? Yes, but never sympathise. Even if the poetic noirish beauty of it all can lure you nervously into its seductive arms and make you feel at odds with your feelings.

Not many knew it at the time, but this was to be a hugely influential film. One that now still shows aspiring newcomers to the sub-genre how it should be done. 8/10

Watched last night, it's reminiscent of the first terminator film in some ways. Bill Paxton nails every second of screen time that he has, definitely worth watching for just for him.

Near Dark is the definitive vampire road movie. It's the most realistic and non-traditional portrayal of vampires in my mind. They're cruising the country...you know, just bored. And wouldn't they be bored? I mean if you live forever, wouldn't you run out of things to do? They spend their time getting in and out of trouble. And that's all they do. I love it. The cast (Aliens anyone?) is top-notch. Adrien Pasdar is as underrated as they come. He plays our likable hero who gets involved with our gang of vamps by accident. Lance Henriksen, Bill Paxton, Jenette Goldstein (all from Aliens), Jenny Wright, and Joshua Miller are all perfectly cast as the nocturnal family. Miller, oddly enough, is Jason Patric's half brother and Near Dark was released just a few weeks after The Lost Boys. Henrikson is appropriately evil and Paxton's Severen character is highly quotable and memorable. Tim Thomerson and James Le Gros also put in an appearances. Eric Red's script is every bit as cool as his earlier road movie, The Hitcher. Kathryn Bigelow will go down in my book as having directed the best vampire flick that I can think of.

Note for genre buffs: The word vampire is never used in the film.