Aux frontières de l'aube

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.

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.

A real gem of a film which deserved a lot more credit than it ever received. Director Kathryn Bigelow went on to produce Aliens and direct Blue Steel and Point Blank, while writer Eric Red went on to direct the brilliant but rarely-glimpsed Coen and Tate, an equally dark movie. In this stylish tale of modern-day vampires, gothic horror is mixed with modern-day American society. The hero, Caleb, is plunged into a shadowy world of immortal vampires that exists just below the ordinary world as the bad guys imitate modern mortals to hunt their prey. With atmospheric music by German techno-band Tangerine Dream, an impressive and evocative horror film with the added attraction that it features my favourite actress, Jenny Wright!

One of the best modern vampire flicks around is this stylish, funny, and all around adventurous cult classic.

Young cowboy is literally bitten by a beautiful stranger and ends up joining a band of blood-suckers who roam the American heartland.

Although Near Dark is often over-shadowed by the ultra-hip vampire movie The Lost Boys (1987), Near Dark is a far juicier treat for horror fans. Eric Red, who also wrote The Hitcher (1986), gives us a seemingly old-fashioned tale of struggle between human nature and savage lust with a nicely spun sense of modernism. Not to mention plenty of touches of dark humor. It's a story that does well with avoiding the obvious clichés of the vampire genre. Director Kathryn Bigelow gives this film terrific style, not only adding scenic beauty but sharply creating plenty of intense action sequences. Near Dark also packs some great makeup FX and occasional gore. The entire sequence in the bar has became a favorite among many. Adding even more to the film is the beautiful music score by Tangerine Dream.

The cast is quite good. Adrian Pasdar is believable as our formerly-human hero. Lance Henriksen is genuine in his role as the leader of the vamp' band. However it's young Bill Paxton who does most of the scene stealing (and the comic relief) as a scary, yet cheeky vampire thug.

A modern vamp classic that delivers on all levels, Near Dark firmly remains a favorite of the genre and one of the most entertaining horror films of the 80's.

**** out of ****

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