Although called "vampires", The film was also released as "Vampires of Johnon Carpenter". which conveys a hyperspecific directorial vision of a genre that is drained and revived several times. Expectations attached to the film were mainly positive, given the record of a carpenter for making powerful, moving stories that were equipped with a brilliant social comment.

However, the "vampires" in 1998 were quite countless in term Only A talk point around the time of his release. I need to emphasize that there is nothing wrong with that, as Carpenter was more than happy to point out how far he had to go up for the meter of violence (through Union in San Diego-Tribune):

"I pushed things to the end because it calls this film. I pushed the violence in every scene, pushed it over the top."

This is true, as the arrival of the first vampire, Velek (Thomas Ian Griffith), immediately reinforces the stakes (quite literally), encouraging Crow and his team to kill vampires to reach him. Just like Crowe is a peak hunter, Veelk is the top predator who climbs his victims into pieces without remorse, now looking forward to the Christian relic that will turn it into a day. Crow cannot allow this to happen, of course, so he deals with impulsive struggles that go as they could in the west, the only difference between the huge amount of blood and the intestines left behind in the process.

Unfortunately, some of these scenes were a little too much for the US Picture Association (MPAA), which made Carpenter level part of the bloodshed to avoid NF-17 rating. According to producer Sandy King (also Carpenter's wife), only a few scenes were shortened to avoid the stricter rating because they "did not want to destroy the film and spoil his rhythm."

As a result, "vampires" are perfectly violent, coherent flicker that shapes its bloodthirsty creatures as frightening inhumane, without resorting to any complexity or romanticization. While the film is definitely felt compared to the best Carpenter offers, he still promises a bloody good time.