Only partially true to its title, this direct-to-video horror film deals just briefly with vampires but contains an unfortunate number of genre stereotypes.
In a Manhattan warehouse, demon hunters Ivan (William White) and Harry (Ed Hubbard) rescue the irascible Albert (Rick Poli) from a supernatural executioner. They are soon joined by college gals Kirsten (Wendy Bednarz), Linda (Anna DiPace), and Jennifer (Suzanne Scott), who have been led there by
Kirsten's new boyfriend, Erik (Mick McCleery), in search of a party. However, the warehouse is actually a gateway to hell, and when Jennifer cuts her hand and bleeds on the floor, the place is thrust into a netherworld between the two regions. Erik appears to escape through a glowing passage, but
Albert (who is Kirsten's father) dies trying to follow.
As supernatural creatures assault the group, it transpires that Albert promised Kirsten to the underworld before her birth, and Erik is in fact the demon supposed to deliver her. Kirsten, however, is rescued by Ivan, who has fallen for her. Both he and Harry turn out to be vampires who protect
humans from hell's spawn on Earth. Not quite up to the task, though, Harry succumbs to "the hunger" and kills Linda, and Ivan in turn kills him. The sun rises, and Ivan and Kirsten escape the warehouse--but the injured Jennifer is left behind, and the demons claim her.
An opening scene shot in black-and-white and the climactic discussions of the vampires' place on Earth suggest slight aspirations to art, but for the most part VAMPIRES AND OTHER STEREOTYPES is typical low-budget horror, clearly inspired in both story and sensibility by Sam Raimi's EVIL DEAD II.
Although well-produced for a movie of this kind--with slick-looking video photography transferred to film--this production lacks the pace and originality to make up for its lackadaisical plotting. More often than not, the humor is simply goofy, and--as in so many films of this type--the approach
to the makeup effects favors quantity over quality.
The acting is a mixed bag, with the leads registering stronger than the supporting cast, though they all have their share of awkward line readings. Moreover, the twist on genre standards indicated by the title might have carried more resonance had Ivan and Harry's true identities been established
earlier instead of being withheld for a last-act surprise. (Graphic violence, profanity.)
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