By Andrew Buckner

Rating: **** out of *****.

Bloodthirst (2023), from director Michael Su and screenwriter Adrian Milnes (from a story by Massimiliano Cerchi), is an immensely entertaining, 88-minute mix of blood-drenched vampire tale, Mad Max (1979)-style post-apocalyptic action picture, and old-fashioned western yarn. It gleefully utilizes these categorical elements, which have been woven together on various occasions beforehand, into a briskly paced endeavor. It is one which rarely lets up in terms of its 1980’s grindhouse-influenced brand of brutally fun excitement. This is while sharply developing its central figures. In so doing, audiences are immersed into the lives of both the on-screen protagonists and antagonists, which prove relatable, engaging, and easy to root for in all arenas. It’s this impressive blend of compelling leads and situations which assist Su’s latest configuration in becoming so immersive and effortlessly enjoyable. I just wish the themes were richer and the plotline wasn’t so familiar and routinely structured.

The narrative revolves around John Shepard (in a bravura performance from Costas Mandylor that plays like a unique spin on Clint Eastwood’s pairing with director Sergio Leone in 1964-1966’s Dollars Trilogy). He is a vampire hunter who is tasked with a seemingly impossible errand. Shepard must find and kill the Vampire Queen (in a fantastic enactment by Tara Reid, who is clearly relishing her role). Led by the Vampire Master (in a commanding turn from Robert LaSardo), a coven of these immortal fiends begin terrorizing and transforming the locals into an undead brood. With the lives of these citizens at stake, Shepard must think and act as quickly as possible to complete his assignment.

Bookended by an appropriately thrilling opening and closing fifteen minutes, Bloodthirst also offers standout depictions from Elissa Dowling and Sarah French as Elena and Brooke Thompson, respectively. Bishop Stevens is just as memorable as Torque. What is just as noteworthy is that, despite a larger than usual cast (all of whom are terrific in their corresponding representations), the feature is equal doses intimate and ambitious. The sparse yet imaginative use of locations, efficient runtime (with not an excess scene in sight), and deft editing also helps matters.

Though the dialogue is at times difficult to discern, the venture is still competent in this field. Said speech is consistently natural and ominous in both sound and delivery. Additionally, these interchanges recall to grand consequence the most endearing traits of the previously-stated sub-genres from which they derive motivation. The commencing narration is where such an observation is most readily apparent. These virtuoso facets are complimentary of both the high-caliber on-screen portrayals as much as they are Milnes’ gripping, smartly penned script.

Moreover, the makeup and special effects, particularly the gore, are never overdone. They impeccably suit the intended tone of the exercise. This is also true of the skillful, focused, and captivating orchestration and breathtaking cinematography from Su. His output in these individual departments makes the simultaneously brooding and classically diverting atmosphere of the undertaking evermore proficient. The grounded yet stirring sequences of combat and gothic horror are where these attributes are most evident. 

From Mahal Empire Productions, Bloodthirst stands alongside Andre Ovredal’s brilliant, well-mounted adaptation of the seventh chapter of Bram Stoker’s Dracula (1897), The Last Voyage of the Demeter (2023), and Harley Wallen’s thoughtful and character-driven Beneath Us All (2023) as a triumphant example of the lingering power of the cinematic vampire saga. Guided by tense and emotive music from Scott Glasgow, Su’s composition, like Ovredal and Wallen’s above-stated work, is considerate of time-tested genre idiosyncrasies. This is while feeling wholly fresh and new.  Like Su did with recent outings such as the exhilarating, pleasantly straightforward zombie opus Bridge of the Doomed (2022) and Death Count (2022), which was inspired by Saw (2004), he delivers exactly what spectators demand from his movies. Because of this, Su frequently provides engrossing, endlessly rewatchable material. Bloodthirst is no exception.