This idiosyncratic take on the genre is as much concerned with ordinary family dynamics as the absurdity of its characters' demonic existence.
Nadja (1994)
Tomatometer
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Reviews Counted:23
Fresh:13
Rotten:10
Average Rating:5.7/10
Runtime: 1 hr 32 mins
Genre: Horror/Suspense
Synopsis: This black-and-white fantasy follows the escapades of Dracula's daughter Nadja, who's living a bohemian lifestyle in New York's East Village. Dr. Van Helsing, the famous vampire hunter, has just... This black-and-white fantasy follows the escapades of Dracula's daughter Nadja, who's living a bohemian lifestyle in New York's East Village. Dr. Van Helsing, the famous vampire hunter, has just put an end to the Count's nocturnal activities. So Nadja and her ailing twin brother Edgar are left to carry on an unwanted family tradition. But she's beginning to feel existential angst over her vampiric legacy, as she sleeps all day and stays out all night roaming the bars in search of love. Meanwhile Edgar's being looked after by a nurse who's well acquainted with the Van Helsing clan -- who are painstakingly closing in on Nadja's bloodthirsty trail. [More]
Starring: Elina Löwensohn, Peter Fonda, Jared Harris, Suzy Amis
Starring: Elina Löwensohn, Peter Fonda, Jared Harris, Suzy Amis, Galaxy Craze, Martin Donovan, Karl Geary, David Lynch
Director: Michael Almereyda
Director: Michael Almereyda
Producer: Amy Hobby, Mary Sweeney
Reviews for Nadja
Not without interest, but less satisfying than even an average Hammer horror.
Highly stylised b/w camerawork and Pixelvision, moody poeticism, and farcical genre parody merge to tantalising if not altogether coherent effect.
[A] genuinely affecting comedy-horror film that updates the Dracula lineage to present-day New York City.
[Almereyda's] imagination seems more focused on composing striking shot compositions than in communicating pure and simple human emotions.
This offbeat horror item works much better as a dreamy mood piece with striking poetic images and as a semicomic appreciation of a few quintessential low-budget actors than as straight-ahead storytelling.
It's the kind of movie that deals with unspeakable subjects while keeping a certain ironic distance, and using dialogue that seems funny, although the characters never seem in on the joke.
The film stumbles with hackneyed plotting, uneven performances and a deadly-dull centerpiece that goes on forever.
Unfolding as a languid dream puzzle in Downtown Manhattan nether world, Michael Almereyda's blend of serious and frivolous ideas and mysterious and haunting images recalls David Lynch, who served as film's exec producer and also makes cameo appearance
It is refreshing to see so much style and life in the old undead tale, and to watch this strong cast with its perfect deadpan attitudes.
The most compelling point here has to do with Lowensohn: She's sulky and sad, but her precision is also remarkably vibrant against her shades-of-grey backdrop.
While it is nice to see an occasional horror film making the art house circuit, this story of the undead just needs more life in the long middle section of the film.
Too bizarre to be taken seriously and not funny enough to be entertaining.
Hip. Cool. New Wave. Chic. These are only some of the adjectives applicable to Michael Almereyda's new take on the vampire legend. Of course, one other term springs to mind, but it isn't nearly as complimentary. Pretentious.
What could have been a brilliant short becomes deadly, stretched to feature length.
Clever and innovative take on vampire mythology in a contemporary tale set in New York City.
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