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Mini-Review, [Interview] ‘Vampires’ Director Vincent Lannoo

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Vampires, written and directed by Vincent Lannoo, is a fresh and new take on the classic icon. Shot documentary style, it follows a family of vampires in Belgium as they take a film crew through their everyday lives.

The moment mother vampire, Bertha, grabs the cover off a boom mic – not once, but twice – cackling with fangs displayed – I knew Vampires was a unique film.

I just didn’t realize how special it would be.

I had the absolute pleasure of speaking with Vincent Lannoo about what he calls “a mirror movie”. See the interview/review below!

Vampires

VampiresWhile Vampires is being marketed as a horror comedy, it is much more than that.

Sure, there are elements are both genres within the film – and as Vincent explains – in everyday human life. What is so unique about it is that the movie has a steady stream of reality that goes well beyond what designer Kim Kardashian is wearing this week. It is the stream of joyous celebration of life that hit me hard – and that I haven’t felt since films like Sofia Coppola’s Lost in Translation or Roberto Benigni’s blatantly titled Life is Beautiful. Both of which are more or less drama pieces, so comparing a mock documentary about vampires seems silly. Truth be told it Vampires is closer to these films than `Spinal Tap meets The Munsters‘.

To call it a horror comedy simply does not do it justice.

Vincent Lannoo set out to make a vampire movie, but wanted to do something different. Something beyond Twilight. He wanted a different point a view – which was the documentary style. At first it was just to be funny, but it became more. It became an “exploration of human frustration”.

The characters come off so authentic due to Lannoo’s relationship with the actors. Each one was written for their true human characteristics. Even Grace – played by Fleur Lise Heuet – and her love of the color pink. He used what the actor had in real life to push the fictional counterparts further. With each little detail, it made the vampire equivalents perfect and natural.

There are so many moments where I had to stop and remember this was just a movie. The film is brilliantly real. It was important to Lannoo to keep the real documentary construction. The movie was shot at night, and the crew’s life began at 8PM. Their lives reflected those of the vampires. Which Lannoo says was very funny. “Sometimes shooting was so crazy because we were in that world. It was completely different. People outside of our shoot came to the set and they didn’t understand. For us, we mastered it. It was the key to success.”

The love and passion behind the film completely shows. Lannoo strived to have the film explore the depths of human contradictions. “Am I good? Am I bad? A lot of our movie exposes that.”

A great example is teenage son Samson’s bad streak. While the family is indeed exiled to Canada due to Samson’s romping with the wife of Belgium Vampire Leader `Little Heart’, his actions earlier in the film painfully echo real life and the cruelty of humiliation. Under the peer pressure of his friend, the two feed on a handicapped mental patient, then proceed to laugh at the poor man as he struggles with his own vampire transformation.

Now, don’t get me wrong – there are moments of laughter. As mentioned before, as the documentary crew enters the home and proceeds to attempt to interview Bertha, she grabs the cover from the microphone, laughing while doing so. A moment Lannoo said was not in the script. Vera Van Dooren had arrived on set on the second day of the shooting. The sound engineer was unaware that she was going to do it. “It was a joke for her.”

Later in the film, Samson has to travel by train. Making a face, he sniffs the car and proclaiming it stinks of humans. After they are exiled to Canada, we then see him playing a guitar in the subway for money – complete with a plaid shirt and Canadian flag cowboy hat.

Daughter Grace, on the other hand, is disgusted by vampire life. Immediately upon waking she pulls out her compact to put on a tan. She parades around in pink clothing while her family lives in dark colors. She even gets a human boyfriend. Humorous dialogue of hers can be seen in the trailer, but her character is by far the most compelling in the end. Her transformation in the film is what left me inspired.

Going into the film expecting a Christopher Guest-esque mockumentary will probably leave you unhappy. Going in open minded will perhaps unveil that underlying theme of the frustrations in human life. Because, as Vincent Lannoo himself said, “The subject of vampires is really perfect that.” If you pull that from it, perhaps it will leave you as in awe as I.

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Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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