976-EVIL (Robert Englund, 1988)

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Fright Night (Tom Holland, 1985)

A vampire movie with so much bite, that even the title has teeth. Fright Night is in a class of its own in terms of deftly combining horror, comedy and erotica. Three distinct genres of cinema that have a lot in common, but for some strange reason, they're not thrown together that often. Any overzealous deviant whose mind has been properly warped on a steady diet of game shows and beef jerky can make a film that features nothing but wall-to-wall bloodshed. However, it takes a fair amount of skill to create a film that is not only gory, but sexy and funny, too. And that's what writer-director Tom Holland has somehow done with this particular effort; he's made what appears to be your typical teenage vampire movie, yet underneath lies a simmering cauldron that is bubbling over with an efflorescent stench. In other words, it's got more depth to it than you'd expect. The plot of Fright Night can be pretty much summed up by listening to the song "Fright Night" by The J. Geils Band, as it covers almost every plot detail from start to finish. If, however, you happen to have an aversion to Mr. Geils and his stupid ass band, I'll help you out by saying the film is about a high school student named Charley Brewster (William Ragsdale) who thinks his new neighbour is a vampire. Shunned by the police and dismissed by his friends, the alarmed teen seeks the help of Peter Vincent (Roddy McDowall), the host of a late night horror movie program called "Fright Night," in the hope that he can utilize his expertise in the realm of the undead. Of course, Charley fails to realize that Mr. Vincent is an actor, not an actual vampire slayer.

It doesn't matter how you become moist, laugh, or express fear, there's something for everyone it this wondrous tale of suburban paranoia. The idea of a vampire moving in next-door is something we all can relate to, as we've all had undesirable neighbours at one time or another. I mean, whether it's playing obnoxiously loud music or puncturing the necks of topless women with their elongated incisors in full view of your adolescent offspring, the discourteous bane that is the annoying neighbour is a universal one.

The nightclub scene at "Club Radio" where Jerry: The Vampire (a suaver-than-suave Chris Sarandon) and Amy: The Girlfriend (the alluring Amanda Bearse) get more familiar with one another has always been a favourite of mine, as supplies the film with its erotic quota. Sporting no nudity whatsoever, nor any scenes that feature excessive vaginal penetration, the club sequence is hands down one of the most titillating, most captivating things I have ever seen. The moment Chris Sarandon (sporting a chic sweater) and Amanda Bearse (a silky blue shirt with the collar up) see each other across the dance-floor, and the synthesizers kick into gear on Ian Hunter's "Good Man in a Bad Time," is the epitome of new wave sexiness.

The give and take nature of their ritualistic conquest of one another is what makes the scene work so well. I mean, if Jerry had dominated the seduction, it would have seemed predatory (which it still is in some respect), but the moments when Amy would rebuff, and sometimes toy with the vampire, made it downright hot. It's weird that a scene featuring a foppish bloodsucker (with a male roommate) and a closeted lesbian would gel so well in a heterosexual capacity. But there they are, inducing a plethora of aroused feelings with their enticing disco embrace.

Providing the bulk of the film's humour is the giddy presence of Stephen Geoffreys as the wacky Evil Ed Thompson, a close friend of Charley and Amy. Boasting a truly demented laugh and superb comic timing, Mr. Geoffreys' has created one of the most memorable horror characters in film history. His scenes with a game Roddy McDowall were freaking hilarious, as every line he utters is rendered iconic thanks to his unique delivery. It's no wonder that his "Oh, you're so cool, Brewster!" is still quoted to this very day (well, by me, anyway).

And I must say, I liked how no one dies pleasantly in this film. Well, actually, that's not quite true, the lady who got necked by Jerry the fruit-eating vampire seemed to go in a pleasant enough manner (the grisly aftermath is kept from us). But as for everyone else, they go nastily. Oozing torrents of green goo, twitching uncontrollably while impaled with furniture, and bursting into flames are just a mere pittance of the pre-death symptoms that plague the unfortunate few in this film. Add a top-notch wolf-to-human transformation and a hand stabbed by a pencil to the mix, and we're talking about a masterpiece up in here.

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