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.
302 Reviews
Watch it just for Bill Paxton's performance!
lewistazz-5048719 February 2022
The real star is the soundtrack
nick12123522 February 2017
Interesting and atmospheric little vampire film. The soundtrack was provided by Tangerine Dream and is absolutely fantastic. Some of the dialogue, especially in the beginning, seems a little cringeworthy and trite but overall the script is well done. It really shines in the way that it gives us a humanistic approach to the vampires. The whole thing has a low key, yet powerful and poetic vibe. At times the humor seems to simply detract from this atmosphere instead of providing anything akin to comic relief or real laughs and I think it would have been a stronger film without the comedic elements. Overall this is quite an offbeat but good film and the soundtrack is amazing.
Best Vampire Flick Ever!
Lt_Coffey_18211 October 2003
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.
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.
"We keep odd hours."
Backlash00715 September 2003
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.
Note for genre buffs: The word vampire is never used in the film.
Well, It Doesn't Suck Too Much
NoDakTatum29 October 2023
Kathryn Bigelow's revisionist vampire picture, cowritten with Eric Red, can be lumped in with all those other revisionist vampire pictures released over the years. Adrian Pasdar is Caleb, an aw-shucks cowboy in Oklahoma who hooks up with weird girl Mae (Jenny Wright). She brings him home to meet the family, who all happen to be vampires. A little love nip gets Caleb hankering for some blood, and he reluctantly goes along with the band of psychotic human hunters. Caleb's dad Loy (Tim Thomerson) tracks down Caleb and takes him back home. A blood transfusion fixes Caleb right up, but the pack of vampires follows him.
Lance Henriksen is Jesse, the leader of the pack, and he is great. He has never received the recognition he deserved. Bill Paxton plays Severen, "the crazy one," a vampire who enjoys killing. In short, it seems to be the same role Paxton played in every other film or so. Pasdar and Wright are okay as the bloodstruck couple, but there is no real body heat between them, so to speak. My problem with this film is the lack of spark throughout. Everyone goes through the motions, but no one looks like they are really into this. Like Red's other notorious film, "The Hitcher," this film opens badly. I felt like I sat down in the middle of the film, not the beginning. Pasdar and Wright are not given enough time to generate this Romeo and Juliet kind of love they are supposed to be experiencing. The vampire "family" are all nuts, and are not given enough time to show any care for each other, which means we eventually do not care either. Thomerson as the veterinarian dad is very good, but in an underwritten part. The film certainly looks good. The special and makeup effects are great, especially the infamous scene of a little fifth grader-looking vampire running down a highway in sunlight and bursting into flame. Bigelow's direction is good, if a little sloppy. There are a couple of editing errors, but she does a good job of keeping things going. When you think things are finally clicking, the film makers throw in a silly scene that makes you rethink your previous joy at the film- the blood transfusions and the really dumb second kidnapping of one character provide grist for the mediocrity. Throw in an inappropriate musical score by Tangerine Dream, and this film is a definite mixed bag. I slightly recommend "Near Dark," but with some huge reservations.
Lance Henriksen is Jesse, the leader of the pack, and he is great. He has never received the recognition he deserved. Bill Paxton plays Severen, "the crazy one," a vampire who enjoys killing. In short, it seems to be the same role Paxton played in every other film or so. Pasdar and Wright are okay as the bloodstruck couple, but there is no real body heat between them, so to speak. My problem with this film is the lack of spark throughout. Everyone goes through the motions, but no one looks like they are really into this. Like Red's other notorious film, "The Hitcher," this film opens badly. I felt like I sat down in the middle of the film, not the beginning. Pasdar and Wright are not given enough time to generate this Romeo and Juliet kind of love they are supposed to be experiencing. The vampire "family" are all nuts, and are not given enough time to show any care for each other, which means we eventually do not care either. Thomerson as the veterinarian dad is very good, but in an underwritten part. The film certainly looks good. The special and makeup effects are great, especially the infamous scene of a little fifth grader-looking vampire running down a highway in sunlight and bursting into flame. Bigelow's direction is good, if a little sloppy. There are a couple of editing errors, but she does a good job of keeping things going. When you think things are finally clicking, the film makers throw in a silly scene that makes you rethink your previous joy at the film- the blood transfusions and the really dumb second kidnapping of one character provide grist for the mediocrity. Throw in an inappropriate musical score by Tangerine Dream, and this film is a definite mixed bag. I slightly recommend "Near Dark," but with some huge reservations.
mainly for cinephiles
A_Different_Drummer18 November 2015
The musical question is, with Bigelow behind the camera and big names in front, how can you go wrong? The answer? This is, was, and always will be a B grade film done on the cheap with a small ensemble cast. As such it does offer historical interest for cinephiles especially since the idea of looking at the "human" side of vampires was at least 10 years ahead of the curve and that deserves credit. Ditto for the fact that script -- which is sharp in some places and terrible in others -- does not even use the word "vampire" which, for the era, was a sign of great restraint.
However that said, the truth is that this is not really a classic and does not hold up that well over time. There is also an internal imbalance, the first half of the film is much tighter and more coherent than the second, as money ran out during shooting which, given the era and the genre, might have actually happened.
However that said, the truth is that this is not really a classic and does not hold up that well over time. There is also an internal imbalance, the first half of the film is much tighter and more coherent than the second, as money ran out during shooting which, given the era and the genre, might have actually happened.
and they didn't even say the 'V' word!
Nightman8514 January 2006
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 ****
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 ****
Antisocial Lost Boys
parasolspetticoats2 July 2021
Warning: Spoilers
Somewhere in Near Dark is an inventive, dark and original vampire story. It's underneath an incessant and overpowering score, never letting up; much like the barrage of scenes that play out hurried and propelled by underdeveloped characters.
The movie feels incomplete. Like a dense screenplay with adequate pacing was cut down to appease a mainstream audience. "No one wants to see a nihilistic vampire film where we root for the villains for two-plus hours. Cut it down to a handful of cool scenes and keep it under 1:40:00." The relationship beats were established (family and romance) but I couldn't care less about those characters, nor did they have the depth or screen time to make me care.
And there are some fantastic scenes and takes on vampire mythology. The bar scene, in particular, stands alone as tremendous one act play in the middle of a muddy movie. That was kind of the highlight, I suppose.
The main protagonist could have been removed entirely, and the story could have been centered on the traveling vampires. Delve into their background, their own dynamics, etc. Play with the viewers' morality and make us identify with the "bad guy." I don't know, just develop a character or relationship fully.
I just want to watch that dude play the sax in the Lost Boys now.
The movie feels incomplete. Like a dense screenplay with adequate pacing was cut down to appease a mainstream audience. "No one wants to see a nihilistic vampire film where we root for the villains for two-plus hours. Cut it down to a handful of cool scenes and keep it under 1:40:00." The relationship beats were established (family and romance) but I couldn't care less about those characters, nor did they have the depth or screen time to make me care.
And there are some fantastic scenes and takes on vampire mythology. The bar scene, in particular, stands alone as tremendous one act play in the middle of a muddy movie. That was kind of the highlight, I suppose.
The main protagonist could have been removed entirely, and the story could have been centered on the traveling vampires. Delve into their background, their own dynamics, etc. Play with the viewers' morality and make us identify with the "bad guy." I don't know, just develop a character or relationship fully.
I just want to watch that dude play the sax in the Lost Boys now.
Natural Born Vampires
Gafke23 August 2004
Warning: Spoilers
Caleb, a young cowboy out for a night of fun, meets Mae, a beautiful and mysterious young girl with whom he becomes instantly besotted. Mae is a strange young woman who runs off at the first sign of daylight...but not before biting Caleb on the throat. As the sun rises higher and Caleb finds himself suddenly sick and getting steadily worse, a van load of drifters stop and all but kidnap him within sight of his father and younger sister. In the van is Mae and her "family" - a group of outlaw vampires who are not too thrilled with the addition of Caleb to their group. Led by 300+ year old Jesse, his woman Diamondback and the brutal Severen, the vampires reluctantly show Caleb the ropes as they drift across the Midwest. But Caleb's father and sister are looking for him, and soon Caleb will have to choose between his old family and his new one.
This is a stunningly innovative and brutally bloody vampire film which never once uses the word "vampire." The dirty, cruel, white trash bloodsuckers could be anyone on the run from the law. This is almost more of a crime spree/road story a la "Natural Born Killers" than a horror movie, and this is exactly what makes it so effective. Stand out scenes include a slaughter at a honky tonk and a shootout at a hotel in the daylight hours. The characters are all well-drawn and complex and the stark scenery throughout - filled with dust and desert and not much else - just adds to the overwhelming sense of isolation, emptiness and death. The murders are incredibly sadistic and gruesome and should please gore fans. The ending - though it disappointed many - is simplistic and surprisingly upbeat, just adding to the grim fairy tale mood of the story. 9 on a scale of 10 for this powerful, desolate vampire tale.
This is a stunningly innovative and brutally bloody vampire film which never once uses the word "vampire." The dirty, cruel, white trash bloodsuckers could be anyone on the run from the law. This is almost more of a crime spree/road story a la "Natural Born Killers" than a horror movie, and this is exactly what makes it so effective. Stand out scenes include a slaughter at a honky tonk and a shootout at a hotel in the daylight hours. The characters are all well-drawn and complex and the stark scenery throughout - filled with dust and desert and not much else - just adds to the overwhelming sense of isolation, emptiness and death. The murders are incredibly sadistic and gruesome and should please gore fans. The ending - though it disappointed many - is simplistic and surprisingly upbeat, just adding to the grim fairy tale mood of the story. 9 on a scale of 10 for this powerful, desolate vampire tale.
Interesting Take On The Vampire Genre
Theo Robertson22 January 2005
Warning: Spoilers
This movie could have been a disaster - Trailer trash vampires ! In terms of box office it was something of a disaster but that was due to the studio going bust when NEAR DARK was released hence the movie had problems getting wide distribution not to do with the quality of the movie or bad word of mouth . Admittedly there are a few niggling problems with the script like for example the rather slow start which is intriguing first time you see it as it sets up the story but becomes something of an ordeal once you know the plot , and the cure for Cabel and Mae's condition is as vague as it is unlikely
But the script is saved by Kathryn Bigelow's directing . Let me just repeat that this horror movie could have turned out completely laughable due to the subject matter but everything is played for real and you won't feel like laughing much as the trailer trash vamps go on a killing spree . Actually this is a possible criticism of Bigelow , she makes everything a little too dark , a little too bleak and a little too ultra violent but I guess that's the point we're supposed to empathise with poor Cabel who's as much a victim as the people the vampires murder . The director also manages to make the romance between the male and female protagonists surprisingly touching which is something that rarely succeeds in this type of genre , you may find the score by Tangerine Dream a bit too 1980s but the music by the band goes with the visuals which isn't something you can say about THE KEEP . The only real criticism I have is a scene involving the timeframe - Several characters walk into a motel room and it's pitch black outside then when a character opens the door a mere two minutes later ( The scene is one take in real time ) it's a bright sun lit morning , but this is probably the fault of the script rather than director or editor
As far as horror movies go I was fairly impressed by NEAR DARK and would certainly recommend it to anyone with a passing interest in horror movies , though it's probably a bit too violent and morbid for some tastes
But the script is saved by Kathryn Bigelow's directing . Let me just repeat that this horror movie could have turned out completely laughable due to the subject matter but everything is played for real and you won't feel like laughing much as the trailer trash vamps go on a killing spree . Actually this is a possible criticism of Bigelow , she makes everything a little too dark , a little too bleak and a little too ultra violent but I guess that's the point we're supposed to empathise with poor Cabel who's as much a victim as the people the vampires murder . The director also manages to make the romance between the male and female protagonists surprisingly touching which is something that rarely succeeds in this type of genre , you may find the score by Tangerine Dream a bit too 1980s but the music by the band goes with the visuals which isn't something you can say about THE KEEP . The only real criticism I have is a scene involving the timeframe - Several characters walk into a motel room and it's pitch black outside then when a character opens the door a mere two minutes later ( The scene is one take in real time ) it's a bright sun lit morning , but this is probably the fault of the script rather than director or editor
As far as horror movies go I was fairly impressed by NEAR DARK and would certainly recommend it to anyone with a passing interest in horror movies , though it's probably a bit too violent and morbid for some tastes
Great start but rapidly degenerates toe curling bad movie
owen_twistfield5 March 2009
Warning: Spoilers
This movie is a balance of good ideas and bad plot as it starts out great but degenerates rapidly into a toe curling bad movie. As such it isn't worth the trouble to watch it a second time. And I would advise people to think twice before buying it.
At first the movie starts out great. It is a kind of a road movie. Cowboy meets girl. Girl turns boy in a creature of the night. Cowboy get's drawn into a life of violence as he is dragged along the road by a group of undead who travel around killing people and sucking their blood. These are't the sleek and nice vampires that say sorry when they bite, but the kind that kill for the fun of it and leave a trail of corpses in their wake.
Well this is at least a new take on the vampire movie. In fact the new cowboy vampire has to earn his place. The other vampires pressure him kill. Killing is graduating to full vampire stardom. It is the point of no return.
But then suddenly the bright idea's stop and the movie degenerates into misdirected violence. On it's own violence can be something that adds to the movie, but this movie just serves up fights that are odd and illogical. Let me explain.
The turning point is actually the bar scene halfway. The group of vampires descend on a bar and start to kill everyone inside. Oddly enough the normal people don't even make a break for it after one of the girls cut the throat of the waitress. They sort of blink their eyes as if someone just downed a pint of lager in one go and then stand around waiting to be killed. The bartender in the meantime takes forever to get is double barreled shotgun loaded and apparently two loads of buckshot in this movie doesn't do much to a vampire. Aim for the head I always say. One of the customers is allowed to flee by the cowboy vampire as he still reluctant to kill people.
The next step is ridiculous. The vampires hide from the sun in a bungalow. The police, tipped by the escaped customer, surrounds the place during the day with two cars and four man. This customer has previous seen the vampires survive a full load from a shotgun up close. He has seen the vampires drink the blood of their victims. He has seen the whole shebang. But the police turns out with four men and two cars.
Then the vampires escape during the day because the cowboy runs out with a blanket, jumps into a van and drives it through the bungalow so the other vampires can get in. Then he drives it out at the other side. And the police can't chase them for their two cars have been damaged in the fight.
At this point one unbelievable scene tumbles over the next. The vampires escape. The family of the cowboy happen to be in the same motel they lurk in. The family is threatened by the vampires, but they escape because the young daughter throws open the door and the sun streams in, while a few minutes before it was still dark.
The cowboy and family take a hike. The cowboy get's a blood transfusion and is human once more. Then they totally forget that they have been chased by a bunch of killers and sit around idly at the ranch in the night with the windows open. So the young daughter is kidnapped.
The cowboy chases the vampires. He confronts them, without any weapons. Then a fuel truck comes along and he get's in and whacks the vicious vampire when the truck blows up.
Next cowboy somehow manages to get his sister free in a scene which involves one of the vampire girls throwing his knife at another vampire by mistake because the cowboy ducks in time. The girl lets cowboy and young girl run. The vampire pulls out the knife, tries to fire, good vampire girl pushes the gun way and then he decides not to fire his gun a second time, instead they jump into the car to chase the cowboy and his sister.
The cowboy and his sister run out of town into the surrounding countryside. The vampires chase them. They grab the little girl again. The sun pops up. The daughter and the nice vampire girl escape the car. The bad boy vampire runs after them and is then blown to smithereens by the sun(but the nice vampire girl not). The remaining vampires get the same treatment when the sun sizzles them and the car to kingdom come.
The nice vampire girl gets a blood transfusion and everything is forgiven and forgotten(including the mountain of corpses she has created.)
Happy end.
For some reason the vampires are continuously active around sunset so the director can serve us burning vampires, humans who escape the clutches of the vampires, and vampires scrambling for cover. This ploy is used again and again. For another reason it is unclear why the vampires don't just kill the cowboy vampire. They give him a week to kill someone and he fails to do so. In fact he let's someone escape who then sets the police on them. Why?
The movie shows that great ideas and a able cast do not make a great movie. It starts out well and then becomes a badly directed action movie. Can't think of a reason why I should watch this twice. Seen better.
At first the movie starts out great. It is a kind of a road movie. Cowboy meets girl. Girl turns boy in a creature of the night. Cowboy get's drawn into a life of violence as he is dragged along the road by a group of undead who travel around killing people and sucking their blood. These are't the sleek and nice vampires that say sorry when they bite, but the kind that kill for the fun of it and leave a trail of corpses in their wake.
Well this is at least a new take on the vampire movie. In fact the new cowboy vampire has to earn his place. The other vampires pressure him kill. Killing is graduating to full vampire stardom. It is the point of no return.
But then suddenly the bright idea's stop and the movie degenerates into misdirected violence. On it's own violence can be something that adds to the movie, but this movie just serves up fights that are odd and illogical. Let me explain.
The turning point is actually the bar scene halfway. The group of vampires descend on a bar and start to kill everyone inside. Oddly enough the normal people don't even make a break for it after one of the girls cut the throat of the waitress. They sort of blink their eyes as if someone just downed a pint of lager in one go and then stand around waiting to be killed. The bartender in the meantime takes forever to get is double barreled shotgun loaded and apparently two loads of buckshot in this movie doesn't do much to a vampire. Aim for the head I always say. One of the customers is allowed to flee by the cowboy vampire as he still reluctant to kill people.
The next step is ridiculous. The vampires hide from the sun in a bungalow. The police, tipped by the escaped customer, surrounds the place during the day with two cars and four man. This customer has previous seen the vampires survive a full load from a shotgun up close. He has seen the vampires drink the blood of their victims. He has seen the whole shebang. But the police turns out with four men and two cars.
Then the vampires escape during the day because the cowboy runs out with a blanket, jumps into a van and drives it through the bungalow so the other vampires can get in. Then he drives it out at the other side. And the police can't chase them for their two cars have been damaged in the fight.
At this point one unbelievable scene tumbles over the next. The vampires escape. The family of the cowboy happen to be in the same motel they lurk in. The family is threatened by the vampires, but they escape because the young daughter throws open the door and the sun streams in, while a few minutes before it was still dark.
The cowboy and family take a hike. The cowboy get's a blood transfusion and is human once more. Then they totally forget that they have been chased by a bunch of killers and sit around idly at the ranch in the night with the windows open. So the young daughter is kidnapped.
The cowboy chases the vampires. He confronts them, without any weapons. Then a fuel truck comes along and he get's in and whacks the vicious vampire when the truck blows up.
Next cowboy somehow manages to get his sister free in a scene which involves one of the vampire girls throwing his knife at another vampire by mistake because the cowboy ducks in time. The girl lets cowboy and young girl run. The vampire pulls out the knife, tries to fire, good vampire girl pushes the gun way and then he decides not to fire his gun a second time, instead they jump into the car to chase the cowboy and his sister.
The cowboy and his sister run out of town into the surrounding countryside. The vampires chase them. They grab the little girl again. The sun pops up. The daughter and the nice vampire girl escape the car. The bad boy vampire runs after them and is then blown to smithereens by the sun(but the nice vampire girl not). The remaining vampires get the same treatment when the sun sizzles them and the car to kingdom come.
The nice vampire girl gets a blood transfusion and everything is forgiven and forgotten(including the mountain of corpses she has created.)
Happy end.
For some reason the vampires are continuously active around sunset so the director can serve us burning vampires, humans who escape the clutches of the vampires, and vampires scrambling for cover. This ploy is used again and again. For another reason it is unclear why the vampires don't just kill the cowboy vampire. They give him a week to kill someone and he fails to do so. In fact he let's someone escape who then sets the police on them. Why?
The movie shows that great ideas and a able cast do not make a great movie. It starts out well and then becomes a badly directed action movie. Can't think of a reason why I should watch this twice. Seen better.
The cast from Aliens shines here
baumer24 June 1999
Warning: Spoilers
How interesting: Kathryn Bigelow was married to James Cameron at the time this film was made and she has three superb cast members from Aliens that make this film a treat to watch.
Lance Henriksen ( Bishop from Aliens ) tells Caleb " I may have taught him everything he knows, but I certainly never taught him everything I know. " Now that is a cool line. The strength in this film is the atmosphere. It is not really a scary movie but the feel of it makes you want to keep watching. You want to know what cool line Bill ( Hudson from Aliens ) was going to come out with. Jeannette ( Vasquez from Aliens ) Goldstein essentially plays the same role in this film as she did in Aliens but she does it so well. I think if this film was directed by a bigger named director it would have done better business at the box office. It really is a good movie with a funny script. Bigelow just wasn't a big name director but now that this film is on video it should be treasured. At least to see what Paxton does with his character. And to see how he dies, after all, he does in almost every film before Titanic.
Lance Henriksen ( Bishop from Aliens ) tells Caleb " I may have taught him everything he knows, but I certainly never taught him everything I know. " Now that is a cool line. The strength in this film is the atmosphere. It is not really a scary movie but the feel of it makes you want to keep watching. You want to know what cool line Bill ( Hudson from Aliens ) was going to come out with. Jeannette ( Vasquez from Aliens ) Goldstein essentially plays the same role in this film as she did in Aliens but she does it so well. I think if this film was directed by a bigger named director it would have done better business at the box office. It really is a good movie with a funny script. Bigelow just wasn't a big name director but now that this film is on video it should be treasured. At least to see what Paxton does with his character. And to see how he dies, after all, he does in almost every film before Titanic.
Its Pretty Damn Likeable!
damianphelps1 March 2021
A vampire road movie before Dusk Til Dawn.
This movie is really great fun and 90% of that fun is provided by Bill Paxton. This movie was perfect for him and his over the top flamboyant personality.
Henriksen also broods his way nicely through the movie.
Plenty of atmosphere, fun story and a good time to be had!
This movie is really great fun and 90% of that fun is provided by Bill Paxton. This movie was perfect for him and his over the top flamboyant personality.
Henriksen also broods his way nicely through the movie.
Plenty of atmosphere, fun story and a good time to be had!
Boring
bregund13 November 2020
Warning: Spoilers
Take everything that is wonderful, clever, lively, suspenseful, humorous, and terrifying about The Lost Boys, throw it away, and you have Near Dark. This yawn-inducing oddity with cheaply made background music, bland performances, and lazy, meandering storyline will have you fast-forwarding through the slow parts, which comprise 80% of the film. I sometimes wonder why high-profile films such as this one escaped my attention when they were originally released, but I could easily see a studio executive struggling to stay awake watching it as he wonders how he's going to promote it. Bill Paxton is entertaining, and Lance Henriksen's face is terrifying on its own, but they're not enough to hold the film together. The director seems to have had no intuition about how far to take scenes, whether they should be touching, romantic, humorous, incisive, explanatory, evocative, or even entertaining, at every turn she chooses the middle road, beige boulevards lined with beige buildings under a beige sky. The prospect of young love erupts in the first scenes but even that becomes watered down by the end of the film, and the chemistry between them becomes obligatory and wooden. These are the most boring vampires I've ever seen.
One, two, four... BANG! Bullseye!
Mr Parker15 August 2002
This is one of the best vampire flicks I've ever seen. These aren't your standard sharp fang having, flying, cool contact wearing, red cape sporting vampires. Rather these vampires look like nomads, leftovers from a roaming biker gang. They drive around in a trailer that has aluminum foil covering the windows to block out the sunlight. They drink blood. They spit out the bullets you shoot them with. They're a tad different than your classic vampire but different enough to keep them interesting. Fans of Cameron's Aliens take note, you have a triple score here with Lance Henriksen (Bishop), Jeanette Goldstein (Vasquez) and Bill Paxton (Hudson) teamed together again. Not too surprising being that Cameron and director Kathryn Bigelow have worked together several times on various films. Bill Paxton is hilarious in this, I have to say. Fans won't be disappointed. I really like this movie. It never gets old, the special effects/make up are pretty decent (nothing too fake looking) and the characters are more than one-dimensional, supported by satisfactory performances throughout. There's enough gore here to satisfy the modest gore-hound and it's entertaining throughout. Give this movie a shot if you're looking for something different. It's a hip vampire movie that works simply because it's not trying to be hip, you follow? Rating: **** out of *****.
Bigelow vampire flick
SnoopyStyle1 January 2021
Cowboy Caleb Colton (Adrian Pasdar) picks up beautiful Mae (Jenny Wright). She's a vampire and she turns him. She and her 'family' are on a crime spree across America.
Kathryn Bigelow is the director and a co-writer. I like the biker sensibilities and the easy pacing western style. I would like more kinetic energy in more vampire action. Bigelow is more artistic in her violence. It has an odd tone which is intriguing but not the most compelling.
Kathryn Bigelow is the director and a co-writer. I like the biker sensibilities and the easy pacing western style. I would like more kinetic energy in more vampire action. Bigelow is more artistic in her violence. It has an odd tone which is intriguing but not the most compelling.
Could have been a classic
Lucabrasisleeps15 January 2015
Warning: Spoilers
The first thing that would surprise people who set out to watch this movie is the lack of the cheesy elements of that period. I would even say that may be one reason which would turn off people from this movie. The movie doesn't have the trademark 80s style.
I heard about some romance elements in the movie and I imagined it would be prominent. On the contrary, the romance elements are quite minimal and personally I don't think there is a huge amount of chemistry between the leads. But honestly that doesn't matter too much. One of the highlights are the performances of Bill Paxton, Joshua John miller and Lance henriksen. They basically save the movie from just being a mediocre teen movie to an exciting ride.
The interesting thing about the characters is how each vampire has had a normal past and then they had to adapt to the new reality. They had to adapt to a situation where they needed to kill. At first it is difficult but then they start to enjoy it and finally they become killing machines who can feel no remorse, no pain. And then they are unstoppable since nothing can kill them other than sunlight. It is interesting how the main character is sometimes attracted to the new lifestyle but is not cold blooded enough to complete the transformation. Not only that, when it starts hitting close to home, he wakes up to the problems of the new lifestyle.
There are quite a few scenes like the bar scene and the hotel shootout which are impressively done and Bill paxton's scenery chewing performance is most prominent in these scenes. Obviously there are elements of dark comedy but they are not too prominent (thankfully).
One of the big problems that bring down the rating a little is the ending. This is what prevents the movie from being a classic. I was a little unsatisfied with the last few scenes. One would expect a brutal gang like this to finish the job with a lot more ruthlessness and with no mercy. Instead they try to drag the situation and then obviously get into trouble in the end. It is not in tune with the rest of the movie, I feel.
I loved the soundtrack by Tangerine dream and as expected it really suits the tone of the movie. They were the voice of the 80s for me, so here too they do a perfect job with the dark touches.
I liked it very much and it does have some classic touches but it has some flaws such as the ending.
7/10
I heard about some romance elements in the movie and I imagined it would be prominent. On the contrary, the romance elements are quite minimal and personally I don't think there is a huge amount of chemistry between the leads. But honestly that doesn't matter too much. One of the highlights are the performances of Bill Paxton, Joshua John miller and Lance henriksen. They basically save the movie from just being a mediocre teen movie to an exciting ride.
The interesting thing about the characters is how each vampire has had a normal past and then they had to adapt to the new reality. They had to adapt to a situation where they needed to kill. At first it is difficult but then they start to enjoy it and finally they become killing machines who can feel no remorse, no pain. And then they are unstoppable since nothing can kill them other than sunlight. It is interesting how the main character is sometimes attracted to the new lifestyle but is not cold blooded enough to complete the transformation. Not only that, when it starts hitting close to home, he wakes up to the problems of the new lifestyle.
There are quite a few scenes like the bar scene and the hotel shootout which are impressively done and Bill paxton's scenery chewing performance is most prominent in these scenes. Obviously there are elements of dark comedy but they are not too prominent (thankfully).
One of the big problems that bring down the rating a little is the ending. This is what prevents the movie from being a classic. I was a little unsatisfied with the last few scenes. One would expect a brutal gang like this to finish the job with a lot more ruthlessness and with no mercy. Instead they try to drag the situation and then obviously get into trouble in the end. It is not in tune with the rest of the movie, I feel.
I loved the soundtrack by Tangerine dream and as expected it really suits the tone of the movie. They were the voice of the 80s for me, so here too they do a perfect job with the dark touches.
I liked it very much and it does have some classic touches but it has some flaws such as the ending.
7/10
Bill Paxton stole the show
mamma_boomshank18 February 2005
This film is obviously stolen by Bill Paxton and although the plot is very simple there are some interesting points of discussion for example the whole blood transfusion scenario. It is an enjoyable vampire western, however the word vampire is never expressed in the film. It neglects all the vampire clichés, and is impressive for it's time. It's quite obvious that films such as From Dusk Til Dawn and The Forsaken have taken there inspiration from this movie. The best scene is by far the bar slaughter. For Kathryn Bigalow's first film it is a triumph and a film to be proud of. I think that anyone who hasn't seen this film should give it a look, because it cleverly combines comedy, drama, horror and gore, but for people who are slightly sickened by the site of blood and horrific killings, be wary of Severens' spur to the neck slaughter.
A Counter-Cinematic Masterpiece!
Doc-13417 June 1999
Warning: Spoilers
In filming "Near Dark", Kathryn Bigelow creates a masterpiece of counter-cinematic art. Counter-cinema in its simplest definition is cinema that through its own cinematic practices, questions and subverts existing cinematic codes and conventions. Counter-cinema usually lies in independent film-making, but sometimes may arise into some semi-mainstream Hollywood films. The later works of Bigelow are much more mainstream, but her use of genre, gender and narrative in her counter-cinematic works ("Near Dark" and "The Loveless") are identifiable in the more mainstream "Blue Steel" and even "Point Break" and "Strange Days".
Counter-cinema often attempts to combine genres of film that would, on the surface seem to not go together. In "Near Dark" Bigelow cleverly combines the seemingly unrelated 'vampire' sub-genre and the 'western' genre. The fact is, these two genres are not as unrelated as we might expect. Both are embodied by a certain mysticism. The tradition of the cowboy as a mythic hero dates back to the western dime novels from the 1860's. The early days of western cinema were based to a large degree on these novels. Vampires are also seen as mythical beings. The first truly great vampire film was "Nosferatu" of 1922, but the whole mythical ideal of the vampire goes back even further. Bram Stoker's "Dracula" was published much before this date. The curious thing about "Near Dark" is that even though the 'western' genre and the 'vampire' genre have a mythical semblance to them, this film is the most realistic and human vampire film that I have seen. I suspect that this is because the film focuses on both worlds; that of nature which nurtures the farm which Caleb (Adrian Pasdar) comes from, and that of the tight knit family of vampires that Mae (Jenny Wright) comes from. Also, counter to many other works of vampire cinema, nowhere in "Near Dark" is the word 'vampire' stated. However, for the sake of simplicity, I will use the term 'vampire' in this review. Both worlds seem to offer something that the other wants, though humanity (not being human) seems to be the ultimate goal.
As the film begins, we meet Caleb who appears to be a drifter, sporting ragged western clothing and a cowboy hat. While standing outside a convenience store with his friends, he sees Mae walk out for a breath of air with her ice cream cone. He immediately is stunned by her overwhelming beauty so he goes and begins to talk to her. While taking an evening drive together, Caleb tells Mae that he has never met any other girls like her. "No, you haven't met any girls like me, she replies". She says that he has never met any other girls like her because when the light from a star hits earth a billion years later, she will still be here. Caleb is intrigued with Mae's mysticism, whereas many men would instantly be turned off by the oddness of her presence. But Caleb's character seems to have restless energy and dogged individualism, just as the traditional cowboy always does in film. He is not the type who would care.
It goes without saying that Caleb gets bit by Mae and is no longer a human being, at least in terms of the usual definition. In one of the film's most effective scenes Caleb stumbles across an open field in a desperate attempt to get home, just after he has been bitten. His body is beginning to burn in the open sunlight, but he does not know what has happened to him at this point. Sunlight plays an important role in "Near Dark", as it clearly contrasts the world of the vampires, and Caleb's world of the farm. The light which nurtures the farm and the fields that Caleb is crossing, is now the biggest threat to his survival. He has crossed over into a world, a world completely incompatible with his previous world. The vast, open fields again symbolize the western genre. Two key typologies to this genre are the open range and civilization. I personally was raised on a ranch, and I find it interesting how people like my parents refer to the ranching lifestyle as civilization. But the large and open landscapes of Oklahoma do not only represent the nurturing world of the farm; it is also a representation of loneliness and isolation on the part of vampires. The vampires in the film, are in a world where they are isolated by their confinement to the night and the need to feed upon human beings' blood to survive. In this sense, the landscape, which Caleb is crossing is a representation of both his previous life and his new life. Just before he makes it home, a large RV containing the family of vampires races towards him and picks him up. As he is pulled into the side door, Caleb loses his cowboy hat and hence loses a powerful connection to his previous identity.
What follows in the film are continual contrasts between both worlds, the one whose people live at night, and the other whose people live during the day. The only bridge or connection between the two is during the sunsets and the sunrises. There are numerous beautiful scenes where Caleb walks across the frame with a sunset in the background. Theoretically, this is the only place where the two worlds can co-exist. One may also see this motif as a bridge where the two genres of the vampire film and the western meet. The vampire can still survive in the dim light produced by a sunset or a sunrise, and at the same time the image of a sunset is a key visual in the western film.
"Near Dark" is not only about differences; Bigelow draws upon the family unit as an essential similarity between the vampires and the humans. There are strong parallels drawn between Caleb's family and Mae's family. Both are headed by distinctive male figures, Caleb's father and Jesse (Lance Henriksen). Both men maintain a tight bond within their separate families. Even though Jesse is not a father, he is a definite leader who acts as father-figure. He looks out for his own, just as Caleb's father is looking out for Caleb and his younger sister. Families, to the majority of people are a uniquely human unit. In depicting families in both worlds, we learn that humanity not only exists within the standard perception of the human unit. We must remember that each one of these vampires was at one point a human being. The film seems to be implying that even in the most extreme of transitions (from human to vampire), one cannot completely leave behind the rites that you previously cherished so deeply. Homer (Joshua John Miller), one of the vampires who was 'turned' while still a child, is the most blatant depiction of this notion. He appears to be quite disenchanted with his current lifestyle. He is always angry and cynical until he meets Caleb's sister. Homer seems to fall for her in much the same fashion that Caleb fell for Mae. Again, another parallel with humanity.
Interestingly, in "Near Dark", there is a way in which a vampire can make the transition back to a human being. Many people have argued that this process in not explained well enough. My only answer is that these people should watch the film again a few times, and they may arrive at some possible answers. The way I view the film, the process of converting the vampire to a human relates back to the whole notion of nature and nurturing that is so apparent in the rest of the film.
**** out of ****
Counter-cinema often attempts to combine genres of film that would, on the surface seem to not go together. In "Near Dark" Bigelow cleverly combines the seemingly unrelated 'vampire' sub-genre and the 'western' genre. The fact is, these two genres are not as unrelated as we might expect. Both are embodied by a certain mysticism. The tradition of the cowboy as a mythic hero dates back to the western dime novels from the 1860's. The early days of western cinema were based to a large degree on these novels. Vampires are also seen as mythical beings. The first truly great vampire film was "Nosferatu" of 1922, but the whole mythical ideal of the vampire goes back even further. Bram Stoker's "Dracula" was published much before this date. The curious thing about "Near Dark" is that even though the 'western' genre and the 'vampire' genre have a mythical semblance to them, this film is the most realistic and human vampire film that I have seen. I suspect that this is because the film focuses on both worlds; that of nature which nurtures the farm which Caleb (Adrian Pasdar) comes from, and that of the tight knit family of vampires that Mae (Jenny Wright) comes from. Also, counter to many other works of vampire cinema, nowhere in "Near Dark" is the word 'vampire' stated. However, for the sake of simplicity, I will use the term 'vampire' in this review. Both worlds seem to offer something that the other wants, though humanity (not being human) seems to be the ultimate goal.
As the film begins, we meet Caleb who appears to be a drifter, sporting ragged western clothing and a cowboy hat. While standing outside a convenience store with his friends, he sees Mae walk out for a breath of air with her ice cream cone. He immediately is stunned by her overwhelming beauty so he goes and begins to talk to her. While taking an evening drive together, Caleb tells Mae that he has never met any other girls like her. "No, you haven't met any girls like me, she replies". She says that he has never met any other girls like her because when the light from a star hits earth a billion years later, she will still be here. Caleb is intrigued with Mae's mysticism, whereas many men would instantly be turned off by the oddness of her presence. But Caleb's character seems to have restless energy and dogged individualism, just as the traditional cowboy always does in film. He is not the type who would care.
It goes without saying that Caleb gets bit by Mae and is no longer a human being, at least in terms of the usual definition. In one of the film's most effective scenes Caleb stumbles across an open field in a desperate attempt to get home, just after he has been bitten. His body is beginning to burn in the open sunlight, but he does not know what has happened to him at this point. Sunlight plays an important role in "Near Dark", as it clearly contrasts the world of the vampires, and Caleb's world of the farm. The light which nurtures the farm and the fields that Caleb is crossing, is now the biggest threat to his survival. He has crossed over into a world, a world completely incompatible with his previous world. The vast, open fields again symbolize the western genre. Two key typologies to this genre are the open range and civilization. I personally was raised on a ranch, and I find it interesting how people like my parents refer to the ranching lifestyle as civilization. But the large and open landscapes of Oklahoma do not only represent the nurturing world of the farm; it is also a representation of loneliness and isolation on the part of vampires. The vampires in the film, are in a world where they are isolated by their confinement to the night and the need to feed upon human beings' blood to survive. In this sense, the landscape, which Caleb is crossing is a representation of both his previous life and his new life. Just before he makes it home, a large RV containing the family of vampires races towards him and picks him up. As he is pulled into the side door, Caleb loses his cowboy hat and hence loses a powerful connection to his previous identity.
What follows in the film are continual contrasts between both worlds, the one whose people live at night, and the other whose people live during the day. The only bridge or connection between the two is during the sunsets and the sunrises. There are numerous beautiful scenes where Caleb walks across the frame with a sunset in the background. Theoretically, this is the only place where the two worlds can co-exist. One may also see this motif as a bridge where the two genres of the vampire film and the western meet. The vampire can still survive in the dim light produced by a sunset or a sunrise, and at the same time the image of a sunset is a key visual in the western film.
"Near Dark" is not only about differences; Bigelow draws upon the family unit as an essential similarity between the vampires and the humans. There are strong parallels drawn between Caleb's family and Mae's family. Both are headed by distinctive male figures, Caleb's father and Jesse (Lance Henriksen). Both men maintain a tight bond within their separate families. Even though Jesse is not a father, he is a definite leader who acts as father-figure. He looks out for his own, just as Caleb's father is looking out for Caleb and his younger sister. Families, to the majority of people are a uniquely human unit. In depicting families in both worlds, we learn that humanity not only exists within the standard perception of the human unit. We must remember that each one of these vampires was at one point a human being. The film seems to be implying that even in the most extreme of transitions (from human to vampire), one cannot completely leave behind the rites that you previously cherished so deeply. Homer (Joshua John Miller), one of the vampires who was 'turned' while still a child, is the most blatant depiction of this notion. He appears to be quite disenchanted with his current lifestyle. He is always angry and cynical until he meets Caleb's sister. Homer seems to fall for her in much the same fashion that Caleb fell for Mae. Again, another parallel with humanity.
Interestingly, in "Near Dark", there is a way in which a vampire can make the transition back to a human being. Many people have argued that this process in not explained well enough. My only answer is that these people should watch the film again a few times, and they may arrive at some possible answers. The way I view the film, the process of converting the vampire to a human relates back to the whole notion of nature and nurturing that is so apparent in the rest of the film.
**** out of ****
Where there's smoke, there's fire...
macabro3579 January 2004
NEAR DARK made the rounds on HBO back in the early 90s and it still sticks in my memory as a great action-horror low budgeter. It's low budget enough although it's shot on 35mm film and does have some decent pyrotechnics and stunt work that elevate it beyond the usual dreck that came out in the 80s.
Caleb (Adrian Pasdar) takes a Mae (Jenny Wright) home from a bar one night and get more than he bargained for. He get's bitten by Mae and becomes one of "them", a band of roving vampires led by the evil, twisted Jesse (Lance Henriksen) and with Bill Paxton and little Joshua Miller added to the mix, you have a first-class trio of demented sickos, ready to spread more bloodthirsty mayhem throughout the Southwest.
Anchor Bay gave this one the star treatment with a re-mastered, wide-screen THX version that will probably become the definitive record of this film. With a second bonus disc full of extras including a 45 minute interview with director Bigelow and the principle actors, as well as numerous location stills and posters. you really can't go wrong if you consider this a pretty good cult film like I do.
Btw, I thought this one was much better than THE HITCHER which also came out about the same time and shared many of the same themes. Both films were written by Eric Red.
Recommended.
7 out of 10
Caleb (Adrian Pasdar) takes a Mae (Jenny Wright) home from a bar one night and get more than he bargained for. He get's bitten by Mae and becomes one of "them", a band of roving vampires led by the evil, twisted Jesse (Lance Henriksen) and with Bill Paxton and little Joshua Miller added to the mix, you have a first-class trio of demented sickos, ready to spread more bloodthirsty mayhem throughout the Southwest.
Anchor Bay gave this one the star treatment with a re-mastered, wide-screen THX version that will probably become the definitive record of this film. With a second bonus disc full of extras including a 45 minute interview with director Bigelow and the principle actors, as well as numerous location stills and posters. you really can't go wrong if you consider this a pretty good cult film like I do.
Btw, I thought this one was much better than THE HITCHER which also came out about the same time and shared many of the same themes. Both films were written by Eric Red.
Recommended.
7 out of 10
critical darling... how???
piller23 October 2002
Based on the critical buzz, I rented this film and showed it at our weekly scary movie night. The critics were on crack! What was that? This film is awful, cliched, unsuspenseful, boring, poorly written, sloppily directed and laughably acted. Don't be fooled like we were. Avoid this and watch a known and proven commodity.
Thank you.
Thank you.
Howdy. I'm gonna separate your head from your shoulders. Hope you don't mind none.
hitchcockthelegend9 August 2010
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
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
A fun vampire movie
Jeremy_Urquhart2 June 2022
This is a very straightforward vampire movie. It doesn't go off in many surprising directions, and might not blow many minds, but it is a hugely satisfying watch. It does just about everything well without truly excelling, but considering that still makes for a very good movie, I think that's okay.
(Okay, Bill Paxton excels in this movie. His character's definitely the most memorable, and he has a knack for stealing scenes here)
Interestingly, it came out the same year as another vampire movie, The Lost Boys. Even though I like that one, I think Near Dark is a little better overall, and maybe the former is part of the reason why the latter is overlooked and underrated in comparison.
Kathryn Bigelow's a great director and (in my opinion at least) has gone on to make even better movies in the decades since this one, but this was only her second feature film, and was already bordering on great. It's an easy recommendation for anyone looking for a good vampire film (or something from the 80s that's not too demanding).
(Okay, Bill Paxton excels in this movie. His character's definitely the most memorable, and he has a knack for stealing scenes here)
Interestingly, it came out the same year as another vampire movie, The Lost Boys. Even though I like that one, I think Near Dark is a little better overall, and maybe the former is part of the reason why the latter is overlooked and underrated in comparison.
Kathryn Bigelow's a great director and (in my opinion at least) has gone on to make even better movies in the decades since this one, but this was only her second feature film, and was already bordering on great. It's an easy recommendation for anyone looking for a good vampire film (or something from the 80s that's not too demanding).
Story wandered aimlessly until end
bbriddell23 November 2007
Warning: Spoilers
Spoiler, don't read this if you're committed to seeing this movie.
The story seemed OK and then it just bleed to death slowly. I've never seen an instant vampire and in this movie, maybe this was for the microwave generation, Kaleb was a vampire in 1 hour or less. At the end of the movie I was wondering what the heck the movie was about and struggling to make sense of the story. There were several great actors (Tim Thomerson, Lance Henrickson, and Bill Paxton); however, I don't think they had a chance to give this movie the nitrous boost it so desperately needed. I'm used to watching movies for college classes and then I would write comments and papers for my college classes. This movie started out OK, picked up tempo and then just went down hill.
This was my take on the movie: A nice cowboy (Kaleb) meets an intriguing country girl (Maggie). She bites him a little and he's instantly a vampire (he begins smoking as the sun comes up within an hour).
Maggie's vampire group/family pulls him into their RV and they drive off. Kaleb's father, played by Tim Thomerson (the reason I watched the movie), sees his son being abducted as does Kaleb's sister Sarah.
Kaleb is taken on a road trip. He cannot kill. Maggie feeds him. The group threatens to kill him unless he kills someone.
Kaleb's father and sister find him.
Kaleb goes home, his father gives him a transfusion and he's healed. Maggie comes to Kaleb's home. The vampire group takes his sister.
The group dies. Maggie gets a transfusion and she's healed.
The story seemed OK and then it just bleed to death slowly. I've never seen an instant vampire and in this movie, maybe this was for the microwave generation, Kaleb was a vampire in 1 hour or less. At the end of the movie I was wondering what the heck the movie was about and struggling to make sense of the story. There were several great actors (Tim Thomerson, Lance Henrickson, and Bill Paxton); however, I don't think they had a chance to give this movie the nitrous boost it so desperately needed. I'm used to watching movies for college classes and then I would write comments and papers for my college classes. This movie started out OK, picked up tempo and then just went down hill.
This was my take on the movie: A nice cowboy (Kaleb) meets an intriguing country girl (Maggie). She bites him a little and he's instantly a vampire (he begins smoking as the sun comes up within an hour).
Maggie's vampire group/family pulls him into their RV and they drive off. Kaleb's father, played by Tim Thomerson (the reason I watched the movie), sees his son being abducted as does Kaleb's sister Sarah.
Kaleb is taken on a road trip. He cannot kill. Maggie feeds him. The group threatens to kill him unless he kills someone.
Kaleb's father and sister find him.
Kaleb goes home, his father gives him a transfusion and he's healed. Maggie comes to Kaleb's home. The vampire group takes his sister.
The group dies. Maggie gets a transfusion and she's healed.
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