Vampires

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The following picture & review (transcribed into English courtesy of yours truly, Mohammad Khan & Alta-Vista's Translation Service is from the French version of Premiere Magazine. The Friday, April 17, 1998 edition to be exact. I hate to say it but the translation doesn't work out too well. Glean from it what you can. It reads like a bad acid trip at times. Kudos go out to the man with the greatest John Carpenter page on the internet, Marc Bright, for making all this possible.

Fishing with the hooks. Jack Crow and his team of mercenaries to the pay of the Vatican drive out the vampires in New Mexico as others fish with large, except that they are also used as soft foods and awake sometimes other hunters... John Carpenter ressuscity. Vampires is at One night in hell what At the borders of the paddle is in lost Génération: a tasty mixture of twilight western in Sam Peckinpah (the preferred kind of Carpenter) and of macabre horror in George Romero, against film caricatures of horror for disturbed banked-up beds. This 16th film is also, and especially, a second breath for Carpenter who finds, after a Village of the Damned and Escape From Los Angeles disappointing, the daring style which enabled him to sign the best references of a kind today under perfusion.Les qualities of Vampires: a realization in CinémaScope all in smoothness and full with surprises; a violent assembly, rythm by an obsessional music very westernienne; simple but effective special effects; finally, a completely original casting. James Woods, in gunfighter hardened, plays Van very contemporary Helsing, the Harry inspector and Snake Plissken joined together, surrounded well by Sheryl Lee (Laura Palmer of Twin Peaks) had by his role and Tim Guinee to whom one would give the good god without confession. Only Daniel Baldwin (in Marlboro Man stuffed with beer) and Thomas Ian Griffith (as terrifying as a garlic collar of spring) are not with the height. If John Carpenter carries out here the most apolitical film of his career, it does not save of it therefore, as a good nihilist, the Church and its Faust out of cassock, as for better doing to us to lose the direction of the good and the evil. Lastly, it signs a conclusion enigmatic and full with humour which, even if it is pressed by the budget, prolongs the pleasure of the witness well after the lights were not re-ignited.

Alexandre Brillant