Bela Lugosi is great, especially in the first section set at Castle Dracula. Dwight Frye is a hoot as Renfield, the foundational figure for so many crazed characters to come in horror movies. Once the action moves to England, things become a bit tedious. And the censorship people ensure that Dracula dies off-screen with barely an "Argh!" to mark his passing. F.W. Murnau's bootleg Dracula, Nosferatu (1922), is a far superior work, as are many of the later adaptations. Still, Lugosi remains a bracing presence. Recommended.
John Carpenter's Vampires (1998): adapted by Don Jakoby from the novel by John Steakley; directed by John Carpenter; starring James Woods (Jack Crow), Daniel Baldwin (Montoya), Sheryl Lee (Katrina), Thomas Ian Griffith (Valek), Tim Guinee (Father Guiteau), and Maximillian Schell (Cardinal Alba): One of John Carpenter's crappier offerings. Oh, sure, it has its moments. But it's crippled by a totally uninteresting vampire antagonist (Thomas Ian Griffith), sloppy writing, and the perplexing choice to have Daniel Baldwin play a character named 'Montoya,' complete with dyed-black hair to, I suppose, trick the audience into thinking Baldwin is Hispanic. The treatment of women is a bit... problematic, given that women in this movie are either prostitutes or vampires (or in Sheryl Lee's case, both). I was entertained, but not a lot. Lightly recommended.
Krampus (2015): written by Michael Dougherty, Zach Shields, and Todd Casey; directed by Michael Dougherty; starring Adam Scott (Tom), Toni Collette (Sarah), David Koechner (Howard), Emjay Anthony (Max), and Conchata Ferrell (Aunt Dorothy): Michael Dougherty's ode to Gremlins isn't as good as Gremlins (which was also set at Christmas), which may be more an indictment of studio interference than anything else. Krampus, which visits the Germanic anti-Santa Claus on a small American town that has forgotten the meaning of Christmas, needs sharper editing in its first half, which seems to run on forever while we wait for Anti-Claus to show up.
Thankfully, Krampus and his twisted minions -- horrible snowmen, horrifying toys, homicidal gingerbread men, and a really nice looking evil Christmas-tree Angel -- do arrive to scare and stalk Adam Scott's family, who are too angry and fractious for The True Meaning of Christmas to take hold. There are some lovely effects both mechanical and CGI animating the various monsters, including Krampus itself. And there's a real sense of menace as things roll towards the end.
Depending on one's interpretation, Krampus either manages a treacly happy ending, a slightly menacing happy ending, or a refreshingly bleak ending in which not even a baby is safe from damnation. Seriously. At 100 minutes, Krampus feels about 15 minutes too long and two sugar packets too sweet for some stretches. But I still enjoyed it. I also enjoyed that it offers an odd commentary on this year's U.S. election: Republican or Democrat, Krampus is taking none of your self-serving bullshit if you're committed to a world where only money matters. Recommended.
The Forest (2016): written by Nick Antosca, Sarah Cornwell, and Ben Ketai; directed by Jason Zada; starring Natalie Dormer (Sara/ Jess Price) and Taylor Kinney (Aiden): Dull film set mostly in Japan's 'Suicide Forest' (but filmed in Serbia) wastes a solid turn by Natalie Dormer as twin sisters. That this movie is actually inferior to the straight-to-cable, bafflingly titled The Last Halloween/ Grave Halloween is an extraordinary feat of wasted opportunity. Among other things, features characters following a river by walking away from said river at a 90-degree angle. OK! Not recommended.