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Creature Features: 8 Vampire Movies to Watch This Halloween

All sorts of things go bump in the night. Ghosts, ghouls, werewolves, witches — creatures that haunt our nightmares and ignite our imaginations. Then, there are vampires. These denizens of the dark hold a special place in human history; our ancestors were genuinely afraid to travel when the sun was down, lest vampires bleed them dry. Entire communities feared bats and wolves, believing them to be bloodsuckers in disguise. Vampire hunting became a legitimate profession in 18th century Europe. We really can’t overstate how much these monsters have messed with our minds over the years.

Maybe that’s why vampires have experienced so much success on the big screen. Vampires have frightened and excited audiences for decades — changing with the times and reflecting some of our darkest desires. As much as we dread these creatures of the night, there’s a small part of us that’s utterly fascinated with them.

Spooky season is in full swing this year, and many of us will participate in the festivities at home. Looking for a way to liven up the night? Here are eight iconic vampire movies to watch this Halloween.

Nosferatu (1922)

Nosferatu: A Symphony of Horror (or Nosferatu, eine Symphonie des Grauens in German) is a staple of the horror genre. This German Expressionist masterpiece was helmed by director F. W. Murnau and stars Max Schreck as the infamous Count Orlok.

Special effects and robust film sets weren’t exactly a thing in the early 20th century. Murnau instead relied on mind-bending camera angles, striking shadows and innovative set design to scare audiences. This film’s impact on the history of cinema can’t be exaggerated — many horror film franchises likely wouldn’t exist if Nosferatu hadn’t crept onto the scene and paved the way.

Dracula (1931)

Nosferatu’s popularity spread across Europe like wildfire. It didn’t take long for American filmmakers to catch wind of F.W. Murnau’s success either. But here’s the thing: Nosferatu was essentially an adaptation of Bram Stoker’s Dracula — one that Murnau filmed without permission. Stoker’s wife successfully sued Murnau and Nosferatu was pulled from theaters. Enter Universal Pictures, which paid approximately $40,000 for the rights to adapt Dracula . Garrett Fort penned the script while Tod Browning took the director’s chair. Bela Lugosi was cast as the titular prince of darkness, and the rest is cinematic history.

Dracula is a genuinely terrifying landmark film. When many people think of Count Dracula, they think about Lugosi’s chilling performance. Universal’s adaptation takes plenty of inspiration from Nosferatu . However, Dracula is not a silent film; characters deliver their lines either with palpable dread or devilish delight. “Talkies” had only recently hit theaters in the early 1900s. Dracula helped legitimize sound films and reshape the movie industry.

Dracula/The Horror of Dracula (1958)

Similar to sound films, Technicolor movies were also relative rarities in the early 20th century. Films were primarily shot on black and white stock, and filmgoers were accustomed to greyscale pictures. The opposite was true by the 1950s, which is when The Horror of Dracula hit the scene. Hammer Films spared no expense when it adapted Bram Stoker’s timeless tale; special effects and ornate gothic sets were specifically created for this film. The Horror of Dracula is also a much more visceral visual experience due to being shot in color.

We’d be remiss not to praise Christopher Lee’s performance as Count Dracula; he aimed to play the character as a “heroic, erotic and romantic” figure — one that was just as mystifying as he was terrifying. Lee’s good friend Peter Cushing starred as Doctor Van Helsing, further elevating the film. And The Horror of Dracula revealed something truly harrowing about vampires: they were dark reflections of human nature.

Blacula (1972)

The United States’ counterculture movement gathered momentum in the 1960s and persisted well into the 1970s. People vocalized dissatisfaction with the government, civil rights initiatives swept the nation and artists used their platforms to critique the powers that be. The Blaxploitation films of the 1970s echoed these sentiments, challenging decades-old stereotypes that were (and still are) imposed on the Black community. Blacula is precisely what its name implies; an adaptation of Stoker’s tale made primarily for Black people by Black people.

The late William Marshall portrays Prince Mamuwalde, a Nigerian man who asked the original Count Dracula (Charles Macaulay) to intervene during the transatlantic slave trade. For his trouble, Prince Mamuwalde was transformed into Blacula, sealed in a coffin and transported to America. Indeed, Count Blacula is a tragic anti-villain; he was stripped of his identity, taken from his homeland and left to fend for himself in a hostile environment. Allegorical, innovative and genuinely frightening, Blacula is worth a watch — and post-screening analysis.

The Lost Boys (1987)

Drugs, sex, rock n’ roll and excess are hallmarks of the 1980s — hallmarks that naturally found their way into ’80s cinema. The Lost Boys epitomizes this trend; “It’s fun to be a vampire” is the film’s tagline, and that sentiment is more than reinforced throughout its runtime. Vampires are ageless, powerful, beautiful beings who live by their own rules and party like rockstars in The Lost Boys. That’s the scariest part about this film — how enticing vampirism can seem on the surface.

The Lost Boys can also be viewed as a metacommentary of the 1980s. Vampirism is an analogy for the excess and hedonism of the decade. Just like it seemed “fun to be a vampire,” it also seemed fun to be a hard-partying rockstar. Spellbinding performances by a committed cast, strong directing by Joel Schumacher and a compelling script helped The Lost Boys break new ground. Vampires weren’t just creepy anymore. They were also undeniably cool.

Blade (1998)

You can’t talk about cool vampire movies without giving Blade its due. The 1990s were an incredibly experimental time for the film industry; spec scripts were being produced by the dozens and comic book adaptations were becoming much more prevalent. Marv Wolfman and Gene Colan created Blade in 1973 for Marvel Comics. At last, in 1998, Wesley Snipes would bring the Daywalker to life on the big screen. Directed by Stephen Norrington and written by David S. Goyer, Blade redefined what superhero movies and vampire films could be. Action, horror, pathos and even a bit of comedy are seamlessly woven into this film.

Though Blade was initially overlooked when it premiered, the film has since been recognized for setting several precedents. It’s one of the first Black superhero movies to achieve widespread critical and commercial success, grossing $131.2 million off of a $45 million budget. Blade also paved the way for many of the superhero films that have become commonplace today; it’s not a stretch to suggest that Sam Raimi’s Spider-Man trilogy, the Underworld franchise and even the Marvel Cinematic Universe wouldn’t exist if Blade hadn’t resonated with audiences. Lastly, this film proved that vampires could transcend genres; Blade is more of an action film than a horror flick, and we wouldn’t have it any other way.

Twilight (2008)

Hate it or love it, Twilight’s impact on cinema is undeniable. This adaptation of Stephanie Meyer’s 2005 novel was an international phenomenon in its heyday. It focused solely on the romantic aspects of vampirism — living forever, being young forever and loving forever. If reading that sentence was painful for you, imagine how excruciating it was to write.

Personal feelings aside, Twilight is an iconic film in its own right. It spawned four sequels, launched numerous careers and kept vampires at the forefront of our collective imagination from 2008 to 2012. Even Burger King got in on the Team Edward vs. Team Jacob debacle. Twilight ultimately proved that there was still a thriving, thirsting market for vampire films in the 21st century.

Blood Red Sky (2021)

We end with Blood Red Sky, a British-German Netflix film that’s equal parts graphic, terrifying and heart-wrenching. The film follows Nadja and her son Elias as they try to survive aboard a hijacked airplane. Discussing this film in detail without spoiling it is virtually impossible, but we can say this: Blood Red Sky focuses on the toll that vampirism would exact on a person’s family, community and mental state. Scenes unfold at an intentionally deliberate pace. Minor characters and extras are treated with a degree of respect that we don’t often see.

In many ways, Blood Red Sky is the culmination of the vampire films that precede it; there are genuine scares here, alongside meta-commentary, dazzling action scenes and genuine pathos. Blood Red Sky proves that vampire films can make viewers cry — not out of fear, but out of true remorse.

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Thir13en Ghosts

When Cyrus Kriticos, a very rich collector of unique things, dies, he leaves his house, fortune, and his prized collection of ghosts. When Cyrus Kriticos, a very rich collector of unique things, dies, he leaves his house, fortune, and his prized collection of ghosts. When Cyrus Kriticos, a very rich collector of unique things, dies, he leaves his house, fortune, and his prized collection of ghosts.

Neal Marshall Stevens
Richard D'Ovidio
Tony Shalhoub
Shannon Elizabeth
Embeth Davidtz
557 User reviews
136 Critic reviews
30 Metascore
See more at IMDbPro
1 win & 4 nominations

Arthur Kriticos

Kathy Kriticos

Kalina Oretzia

Dennis Rafkin
Robert 'Bobby' Kriticos

Benjamin Moss

Maggie Bess

Cyrus Kriticos

Cyrus' Assistant
Team Member
The First Born Son

The Bound Woman

The Torn Prince
All cast & crew
Production, box office & more at IMDbPro

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Did you know

Trivia In the movie, the characters need special glasses to see the ghosts. In the original 13 Ghosts (1960) , viewers needed special glasses to see the ghosts. This is one of the few details from the original that was kept.
Goofs After Arthur punches Rafkin and they fall to the floor you can see the reflection of a crew member behind Arthur on the desk.

Rafkin : There are ghosts in the basement!

Maggie : This basement?

Rafkin : Of course this basement! What is it with you people? If it was the basement next door I wouldn't give a shit, would I?

Crazy credits The film's title logo is visibly shown at the very end of the end credits.
Alternate versions The Region 1 DVD release includes extensive background information on each of the ghosts as a bonus feature, including footage not used in the final movie, and newly recorded narration by F. Murray Abraham .
Connections Featured in Who Wants to Be a Millionaire: Celebrity Edition 4, Show 2: Shannon Elizabeth, Martina McBride, Mick Foley (2001)
Soundtracks Excess Written by Tricky Performed by Tricky Backing Vocals by Alanis Morissette (uncredited) Courtesy of Hollywood Records/Anti Inc. A Division of Epitaph Records

User reviews 557

Dec 16, 2006
How long is Thir13en Ghosts? Powered by Alexa
Who is the 13th ghost?
October 26, 2001 (United States)
United States
Warner Bros. (United States)
Thirteen Ghosts
Surrey, British Columbia, Canada
Warner Bros.
Columbia Pictures
Dark Castle Entertainment
See more company credits at IMDbPro
$42,000,000 (estimated)
$41,867,960
$15,165,355
Oct 28, 2001
$68,467,960

Technical specs

Runtime 1 hour 31 minutes
Dolby Digital

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Thirteen Ghosts

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Original Theatrical Release

October 26, 2001

Action/Adventure, Horror, Sci-Fi/Fantasy, Suspense/Thriller

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Rotten Tomatoes® Score

... the most 2001 movie that ever 2001’d.

Yes, it’s schlocky with a clunky narrative, terrible ADR, and nonsensical editing. But for the early aughts, it’s an inventive film with top talent creating mind-blowing effects and designs.

No this is not the best horror film, but it is definitely an enjoyable one, and Thirteen Ghosts is sure to have a little something for all horror fans to enjoy.

Whereas both versions of Thirteen Ghosts find characters donning special glasses to be able to see the specters, only the remake will lead viewers to wish they had special goggles that would allow them to see a different movie instead.

...a workable premise that's employed to progressively tedious and downright interminable effect...

Impressive set design can't quite justify an otherwise choppy, sloppily penned rehash of what could have been an interesting revisit of Castle's penchant for shlocky shocks.

Shalhoub is well suited to portray Arthur, a lost widower trying to deal with his pain while taking care of his children.

While the film isn't entirely noteworthy, it solidifies its place among the corny movies from the early 2000's. Cyrus' haunted house is a work of art, and ultimately adds a memorable piece of real estate in the horror genre's spooky neighborhood.

Elaborate, very expensive and very, very bad, Thir13en Ghosts is filled with ghouls who look like rejects from for Michael Jackson's Thriller video.

A more fitting tribute to William Castle would have been to create a horror flick you could sit through without consistently squirming in abject loathing.