Interesteg What makes it different from others?

Doomtomylo a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

SeeQuant Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Nigel P French director Jean Rollin worked on the storyline to for this film whilst undergoing lengthy dialysis treatment. The extra time enforced on the project results in one of his most polished work, in my view. We have Louise and Henriette (Alexandra Pic and Isabelle Taboul), two girls (sisters possibly) who are blind by day and fully sighted vampires by night. The reason seems to be that they are Aztec Gods, or descendants thereof, and as such, can never really die.Much is made of their night-time activities. Their blue-tinged journeys are either seen as sinister hunts or the mischievous naughtiness of two young scamps. This balance between schoolgirl killer and playful sinner is achieved very well. The actresses exude an other-worldly charm that makes them strangely appealing, despite their misdeeds.Of course, there is the opportunity to pick out plot holes - why did the girls kill the good Dr Dennery after he provided them with a home, and whom they had just convinced of their good intentions? And why did the passer-by in the cemetery, after noticing they were not really blind, assume them to be demons from hell and threaten to beat them with a stick? – but why bother? It would, as always, be like trying to dissect a dream, a place where the usual rules either don't exist, or simply don't matter.

Aristides-2 This movie is a contender for being one of the worst films I've ever seen. Only the fact that the performances of some of the actors are not that bad keeps it from that most dubious of descriptions.Why is it bad? Let me count the ways: Parts of the script could be easily suited for a radio/tape/disc presentation. Talk, talk, talk and in these sections, no motion, motion, motion. Much of the direction makes me have a fantasy that a real nun, cloistered to the point of idiocy, 'directed' many of the sub-amateurish performances.A staple in vampire stories, going back to Mr. Stoker, is that daylight is a killer to a vampire. They exist at night. In this movie, multiple times (too many to count), we literally see daylight and yet see the vampires functioning. Couldn't this have been easily been handled when the film was being timed?What's with the two scenes being shot in NYC? Since the doctor moved the vampires to Paris from the countryside, where they were seen by a rural man and his wife in a large cemetery, how could the man, back in the countryside, happen upon them again? That scene in the urban cemetery; the country guy is looking at them in one direction, and when set upon by the young murder victim's boyfriend, turns around and pointing in a different direction says something like, "look what they're doing to your girlfriend!"Much of the dialog between the vampires, while meant to be 'simple' comes out simpleminded: the Manson girls and their mental diarrhea. One of the vampires is shot in the back with a shotgun but when her back is seen, no sign of an entry wound.What, by the way, did the young farm girl have happen to her in a few minutes time, that made her want to help and shield the two murderers?And on and on and on.

lazarillo Many Jean Rollins fans didn't like this movie because it didn't have the kinky sex and rampant nudity of his earlier films, but I'm of the opinion that European cult directors like Rollins and Jesus Franco have actually done their best work when they didn't lazily rely on these elements (although with Franco you'd have to go back to late 60's to find evidence of this). Like with most Rollins movies the plot of this one is pretty incidental (something about blind, orphan, twin vampires trapped in a world that doesn't understand them) and the dialogue is downright laughable (if you have a choice watch it in French with English subtitles, or even turn off the English subtitles--it won't matter much). What makes the movie is the music, the atmosphere, and the startling visuals that at times approach the sublime surrealism of Jodorowsky (that's a compliment by the way). The leads are both very good. I was under the impression that this movie was so tame because Rollins had cast children in the lead roles. The actresses instead look to be in their late teens or early twenties (and they do have one brief nude scene). And if you miss the old Rollins standbys, Tina Aumont and Brigitte Lahaie both put in brief but interesting cameos (which is perfect because I never thought Lahaie especially could act her way out of a crisp paper sack). Maybe this isn't as good as many of Rollin's classic 70's films, but it's a lot better than all his recent SOV and hardcore porn efforts.

Steevh Now *this* is the film that separates the men from the boys. If it's in-yer-face sex and horror you want; then I suggest you bugger off now, because Jean Rollin has concocted something very very different... And are you man enough to take it?Rollin's filmic obsession with vampires- and let's face it, with erotic young women- has never looked this beautiful. Like many films to come out of Europe, this eschews huge action and movement in favour of stillness and thought. It's beautiful to look at, and within the frame Rollin has trapped a whole other world- a vivid, colourful world of rich tones and contrasts, waif-like vampires and deep brown earth. Like some kind of comfortable dream on a hot Summer's evening, 'Two Orphan Vampires' slides from plot point to plot point at its own leisure. At times there's not a lot going on; but there's always something to look at.Perhaps the most astonishing thing about the film, is the way in which Rollin makes the tiny budget work to his advantage. We meet a vampire queen, a ghoul and a werewolf. But we are only *told* this is what they are- they appear outwardly 'normal'... and although it's a cliche to say 'our imaginations do the rest', here it is so true. Late in the film there is a scene in which one of the characters explains some of her past; stuff that Hollywood would salivate over. Rollin has her hunched over a table and s-l-o-w-l-y tracks the camera towards her. No fuss, no noise, no elaborately staged flash-backs and set-pieces. Stillness. Quiet. And an otherworldliness that will leave you changed. It's like looking at a painting that illustrates a poem you strongly admire, and finding the artist has got it just 'right'. 'Two Orphan Vampires' is a tribute to the enduring presence of Jean Rollin- a writer/director of integrity, vision and wit. Steev