Sunlight Through Bullet Holes Kathryn Bigelow’s Near Dark is just as revealing 30 years later.
Vampire films had become «trendy» by the time of Near Dark’s production, with the success of 1985’s Fright Night and 1987’s The Lost Boys (released two months before Near Dark and grossing $32 million). Kathryn Bigelow wanted to film a Western movie that departed from cinematic convention.
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Katherine Bigelow’s mesmerizing Near Dark is a lyrical, gorgeously crafted vampire western that has acquired a cult following since its release in 1987. The undead in Bigelow’s film are a tightly knit, leather-clad gang of hell-raisin’ rednecks who prowl the Southwest in a motor home looking for fresh prey.
30 years ago, Kathryn Bigelow reinvented the vampire genre with Near Dark, a movie as thoughtful as it is bloodthirsty.
For me, one of the great vampire films is the criminally underseen Near Dark (1987), made by Academy Award-winning director Kathryn Bigelow (Point Break, The Hurt Locker, Zero Dark Thirty). It’s
Near Dark is a Western. Except when it doesn’t want to be. This is what makes Kathryn Bigelow’s solo feature directorial debut so endlessly fascinating: the picture’s utter refusal to abide
The western-horror-romance-vampire movie still packs a punch nearly three decades later.
Near Dark was Kathryn Bigelow’s second feature and her first major directorial job, though her debut effort with 1981’s The Loveless, starring both a pre-fame Willam Dafoe and rockabilly-revival singer Robert Gordon, is well worth checking out.
Both brutally violent and shockingly sexy, Near Dark’s influence can be felt nearly thirty years later on a new crop of unusual vampire dramas that simultaneously embrace and reject the conventions of …
Kathryn Bigelow’s dusty, ambient vampire western is a timeless classic for me, and a lived in genre entry with stellar performances, razor sharp writing (Eric Red power), and confident direction from Bigelow, at her very best when working in the pulpy realm of action, crime and horror.
Near Dark is a million miles away from Point Break or Bigelow’s much later Oscar work on The Hurt Locker and Zero Dark Thirty. As perennial B-stars, it’s good to finally see the likes of Bill Paxton and Lance Henriksen get much meatier roles.
Twice. Where those films have capes, Near Dark has cowboy boots. Where others take their rest in coffins, these folks go to honky-tonk bars and, er, get extra friendly with the customers. Many vampire films over the years have centered on melancholia, tragedy or sometimes even pure lust; Near Dark operates on the principle of, “To hell with
Near Dark opens with a close-up of a mosquito siphoning blood from an arm. Like the vampires – who, notably, are never referred to as such in the film – that haunt the velvet shadows of Kathryn
2) It’s a coming of age vampire story, something nearly 30 years later has been drained to death. Plus, NEAR DARK has to compete with the legacy of THE LOST BOYS with more or less the same story