Matcollis This Movie Can Only Be Described With One Word.

filippaberry84 I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Sienna-Rose Mclaughlin The movie really just wants to entertain people.

Payno I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

mrnunleygo If you like sexy violent gangster vampire comedies (and, c'mon now, who doesn't?), this is the movie for you. It's directed by John Landis in a mode similar to his earlier "American Werewolf in London." Anne Parillaud has winning charm as an Audrey Hepburn-Bela Lugosi hybrid (though neither of them did frontal nudity) and Anthony LaPaglia makes a fine unflappable detective. However, it's the late great character actor Robert Loggia who completely steals the film as an over-the-top Pittsburgh crime boss who discovers there are real advantages to being turned into a vampire. (If you remember him in nothing else, you'll recall Loggia as the toy company boss who dances with Tom Hanks in "Big.") It isn't intellectually deep or complicated, but it's plenty of fun. What's not to like?

gwnightscream Anne Parillaud, Robert Loggia, Anthony LaPaglia and Don Rickles star in John Landis' 1992 horror comedy. Parrilaud (La Femme Nikita) plays Marie, an attractive, French vampire who feeds on the not so nice guys. Loggia (Scarface) plays mob boss, Macelli, her target whom she bites, but fails to finish him off. Soon, he becomes a vampire and decides to turn his crime family into an undead family. LaPaglia (The Client) plays undercover cop, Joe who helps Marie stop him and also finds romance with her in the process. Rickles (Casino) plays Macelli's lawyer, Manny and there's also appearances by Angela Bassett, Frank Oz, Sam Raimi, Dario Argento, Linnea Quigley and Tom Savini. This is a good film with creepy and humorous moments, a good cast & great make-up effects. I recommend this.

MARIO GAUCI As some of you may know, I not only consider Landis' AN American WEREWOLF IN London (1981) the finest "Wolf Man" flick ever but it is also, hands down, the greatest horror film to emerge during the last 3 decades. Still, while I have always been aware of this one – which deals with vampires – I somehow never got around to watching it until now! I did catch Landis' two good entries in the "Masters Of Horror" series, though, not to mention the debacle that was his episode from TWILIGHT ZONE: THE MOVIE (1983).Anyway, this is typical of the era in keeping nudity (right from the start, and some of which is surprisingly kinky!) and gore (as expected from a vampire movie, we get plenty of the red stuff) at the forefront. The film attempts to give a novel spin to the well-worn theme by making the heroine something of a femme fatale (a well-cast Anne Parillaud) – complete with first-person narration, where she rather uninspiringly refers to other humans as "food" – and throwing her amidst a modern-day world of 'cops and robbers' (thus continuing the noir analogy but which does not really lead anywhere!). The latter seems to emanate from a Martin Scorsese picture, what with the first such scene involving a man being beaten in the face with a toaster, but then it leans towards the heavy-handed when the mobster (Robert Loggia), vampirized by Parillaud when he takes her home for a fling, begins to infect his gang left, right and center! The hero (Anthony LaPaglia) is an undercover cop and he instantly catches the eye of the leading lady in that she does not want to convert him to her nature, even if his pursuit of her for presumably killing Loggia (which he had been meticulously planning to personally bring down) is relentless – she even glides over him in a POV shot inside a church! Once he realizes what she is (though, apparently, the word "vampire" is never actually used!), he naturally has a hard time convincing his colleagues...that is, until corpses start coming back to life with uncomfortable regularity. Herein, however, lies the film's main problem: the vampires here hardly act like your typical bloodsucker (which, by the way, they do not simply bite the jugular but rather tear right into the neck like an animal!). When aroused, their eyes glow and they give out feral sounds (which again resemble more a werewolf or, at least a panther, as this reminded me quite a bit of CAT PEOPLE {1982}!). Besides, the deathly make-up makes them look more like zombies than anything else! Other minuses, while we are on the subject, and especially in comparison with American WEREWOLF, is that the script (not written by the director himself in this case) shows little of the earlier film's knack in blending together the narrative's two styles, to the point that the comedy and horror here seem to belong in different movies but, also, the accompanying soundtrack pales beside that of the 1981 lycanthrope masterpiece (though one appreciates the in-joke of the mob being particularly fond of Frank Sinatra, given the singer/actor's notorious lifelong association with real-life underworld figures)! That said, a number of scenes are well done (notably Don Rickles' literal hospital 'meltdown'), Parillaud and Loggia (amusingly, he does not know what he has become at first and goes apeshit when he starts disintegrating in the sunlight) are terrific and, as usual, Landis incorporates his usual touches of the fabled "See You Next Wednesday" marquee and a handful of 'star' cameos, including genre authority Forrest J. Ackerman, directors Frank Oz and Michael Ritchie, and even fellow horror-meisters Dario Argento (then filming TRAUMA {1993} in the U.S.), Sam Raimi and Tom Savini!

gavin6942 New York is littered with mobsters, from the Gambinos to your average street trash. But two people are taking out the trash: Joe Gennaro (Anthony LaPaglia, "Empire Records"), an undercover cop in the mob's inner circle, close to breaking the biggest case of his career. And Marie (Anne Parillaud), a vampire with a conscience, who targets only those with blood on their hands. While their paths may cross and be in conflict (you can't prosecute a dead man), in some ways they may just need each other.John Landis, the director, blends romance, horror, mobsters and comedy. And I'd say he does it fairly well. Landis' idea of romance seems to be excessive nudity (plenty of fully nude shots and women in topless bars) but I don't think that people will have a problem with it. I found it distracting at times, but not overly so. Who can complain about nude women and the occasional Harry Manasse? The comedy is subtle at times, but you need a dark humor when dealing with vampires. Don Rickles is great, and I really enjoyed the cameo from Tom Savini as an obsessive reporter. Sam Raimi shows up, as well, and I think I caught a few others. Horror cameos work well and pay off in spades if you want fanboys like myself gawking and saying "I know that guy!" while everyone else in the audience has no clue what directors look like and don't care. I'm rambling, but you know... that's the little thing that sells a film to me. (Another running theme is people within the film watching old horror films intently... if Landis had any more nods, he'd be a bobblehead doll.) The blood and gore are here, the acting is good... Frank Sinatra dominates the soundtrack (which is appropriate). There's some confusion about how this film fits into the vampire mythos. Some standard variations exact: there don't appear to be transformations (though Ana may have been a bat in one scene), the vampires have mirrored reflections, sunlight is harmful but not nearly as deadly as usual. And turning people simply requires you to not remove their head rather than any fluid exchange. Purists might get uptight, but this isn't supposed to be taken that seriously, guys.I'd consider "Innocent Blood" a modern classic. Landis is a living legend and this can be marked as one of his better pieces. Sure, you love "American Werewolf" (and you should). And yeah, my favorite is probably "Deer Woman". But "Innocent Blood" deserves more respect and attention than it tends to get... mobsters and vampires are meant to go together, and any time you can turn a simple blood-and-guts story into a morality play, you've scored points with the critics. Or, at least with me. But I bet Ebert loved this one, too.