Topping this list is of course Francis Ford Coppola's now classic interpretation of the original Gothic vampire mastodon, Dracula. Although the novel from 1897 is about as seminal as you can get, it is rather a tedious read. The film from 1992 is spruced up, sexier, bloodier, more passionate and more action-packed, and that's largely down to Gary Oldman's career-defining performance as the grandmaster himself, Vlad Dracula. The best place to begin an exploration of the vampire lore.
Stephen King wrote one of the best updates of Bram Stoker's story, in 1975; mainly similar in the presence of a creepy old house and the arrival of a European vampire lord who wreaks havoc on the local population, but with that particular King twang. A writer returns to his small home town of Jerusalem's Lot, Maine, to exorcise some personal demons that are connected to a supposedly haunted house, which has just been bought up and renovated by a pair of mysterious businessmen from Europe. Salem's Lot contains the elements of horror literature that King is such a master of, the pop cultural references, the realistic dialogue and the usual roster of characters from the teacher, the writer, the doctor and the precocious hero child to the small-town dregs of alcoholics, wife beaters and white trash families. It also features the recurring Stephen King themes of horror in a small community and the ultimate disintegration of small town America. It was only King's second novel, but it is mercilessly entertaining from start to finish!
Guillermo del Toro takes some of the style and ideas of his so-so addition to the Blade franchise, Blade II, and creates a thrilling apocalyptic ride through NYC as an ancient vampire master arrives and lets loose a contagion of blood-sucking parasites. If your definition of a vampire story is beautiful immortal romance (à la Twilight, et al), you won't find it here. The Strain has more in common with zombie movies, but like most of del Toro's stuff, it's all a mish-mash: there's a classical Van Helsing-like vampire hunter from Eastern Europe, there's gore and rock 'n' roll, and there's a viral Resident Evil-like armageddon, and it's all just so bloody good!
This indie flick from New Zealand was the biggest surprise hit of 2015 and also one of the cutest, freshest and funniest alternative comedies for some time. Definitely the best vampire-themed comedy since Roman Polanski's The Fearless Vampire Killers from 1967. Four vampires with various personalities and styles share a communal living space and agree to be filmed by a team of documentary filmmakers. Hilarity ensues, with a side order of highly quotable lines ("We're werewolves, not swearwolves") and some believable, well-written and acted moments to boot.
Jim Jarmusch has always been about cool, so when he tackles the vampire genre, it's a match made in heaven. Like most of his films the story is very thin, but in its simplicity lies its richness. We meet two lovers, hinted at as being Adam and Eve themselves, living continents apart who are brought together again in a mostly abandoned Detroit, Michigan. Everything about Only Lovers Left Alive is supercool, from the cast (Tilda Swinton, Tom Hiddleston, John Hurt and Mia Wasikowska), to the dark, goth rock look to the eclectic music. Not a horror film per se, but will definitely satisfy a viewer looking for cool immortal romance.
Anne Rice's now classic novel is not a great piece of writing in itself, but credit is due because she helped reinvent the vampire mythology almost to its core. In her 1976 Southern Gothic depiction of the destined vampire trio Louis, Lestat and Claudia, readers were introduced for the first time to the modern-day vampire that is all about sex and parties, that is not afraid of crosses and garlic, that has a reflection in the mirror and are more like rock stars than medieval European noblemen. Full of vivid and passionate depictions of 18th century New Orleans, delightfully decadent, the fascinating story of Louis, the doubtful and conscientious vampire, Lestat, the evil and restless gambler and sex addict and Claudia, the vampire child and coldest of all, spawned 11 (!) sequels and a(n inferior) film adaption in 1994.
F.W. Murnau pretty much wrote the blue print for all horror films in 1922, with this loose adaptation of Bram Stoker's Dracula, the second best adapation of that novel ever made. Because of certain copyright restrictions, Count Dracula became Count Orlok and 'vampire' became 'Nosferatu', and ironically both became equally integral parts of vampire lore. It's been a long while since I last saw the film, and it's not often one has the stamina to sit through a silent horror film, but its influence cannot be denied and its status as one of the most important parts of vampire lore is set in stone.
Unlike the previous entry, Robert Rodriguez's and Quentin Tarantino's addition to vampire lore would never be considered important or consequential by (conservative) vampire aficionados. Me, on the other hand, I love it and always have. The story should be well-known by now, not least because of three sequels and a very satisfying TV series remake; two bank robbers make a run for the Mexican border, aboard an RV with their hostages, a preacher who's lost his faith and his family, and end up at a biker bar that is to their surprise run by ancient Aztec vampires. Cue a bunch of sex jokes, over-the-top violence and film buff cameos! With Rodriguez's eye for cinematic extravaganzes and Tarantino's ear for dialogue, a good time is guaranteed.
Thirst
IMO genius filmmaker Park Chan-Wook's obscure vampire drama Thirst from 2009, deserves a spot on this list, if for no other reason because of its sheer originality. A Catholic priest turns into a vampire after a visit to an African missionary hospital, and has a hard time adopting to his new life because of his very strong sense of morality and good nature, until he falls in love with an unhappily married woman who turns out to be more bloodthirsty than he ever could be. Thirst is largely a very liberal adaptation of Émile Zola's 19th century novel about infidelity, Thérèse Raquin, but with a vampire plot thrown in because, why not? Despite its many silly and funny moments, it's a strong film, provocative in many ways, that looks good and is thoroughly moving.
True Blood (season one)
Before True Blood spiraled into ridiculous territory with fairies, shapeshifters, werewolves and gods, it managed to deliver an in many ways excellent and ground-breaking first season. By bringing vampires into the open, vampire lore became a metaphor for racism, in an American South where vampires were struggling for their civil rights, drinking fake blood and, to some extent, being upstanding citizens. The relationship between the civil war vampire Bill Compton and the heroine Sookie Stackhouse was at first dynamic and interesting, as were the viking vampire lord Eric Northman, played by Alexander Skarsgård, and the tension between humans and vampires. In the end, a very good and promising idea was squandered, I think, in an attempt to constantly up itself. But the first season, which came at a time when HBO was really hot and at its best, is still good television and True Blood is either way a noteworthy chapter in vampire lore.
