Has a huge, widespread darkness in Catherine Bigelow's 1987 Solo Directors' Debut, "Near Dark", It often seems that anyone who touches it can be consumed. It is so widespread and omnipresent that it feels like the main character over people of meat and blood. I guess it's natural (and necessary) in a film that is for nomadic vampires and their infinite life cycle primarily limited to the dead night. But the darkness of Bigelow is not only for the monsters lurking in the shadows, but the beauty, lust and attractive independence that attracts them to it in the first place. There is an appeal for what can seduce even the most innocent and good heart of men and women, besides the psychos that gravitate towards him by nature.

This is how the "close dark" begins: an unclean and naive man called Kaleb (Adrian Passdar of "Top Gun") meets a young, petty and mysterious woman named May (Enen Wright) on the street and then follows her in the night. He is immediately trapped by her restrained glamor, but she also feels that she has more for her to discover beyond her appearance. "I have never met anyone like you," he tells May, who immediately takes more meanings.

There is a noticeable obsolete scenario of Bigelow and Eric Ore, but also deep poetry that is still untouched nearly four decades later. We know immediately from the bat that May is a vampire, but not for her intentions. He flirts and plays with Kaleb, but never as a predator with his prey. She likes enough not to suck the veins dry and instead turns it into its own type. She gives him the freedom of the night by taking away all the light. But Caleb never asked for this, and when he realizes what the savage group is getting up, he belongs to him, he panicks and desperately trying to bring him back. However, it's late. He has two choices: learning to kill and be accepted by the group (led by Lance Henriksen's Esses) or becoming vampire food.

Essesi and his team of bloodthirsty ragag-me, North (Bill Patston), Diamandback (Ennetic Goldstein) and Homer (Oshoshua Johnon Miller)-Life as Nomadi, traveling across the country in Minivan, in search of prey and all their entertainment entertainment. They are tied to the night and make a holiday from that every chance they get. Although Caleb is a little intrigued by all this, thanks to May, it is not enough for that to join the crew and leave his normal life behind. He has a home, a lube father (Tim Thomerson) and a younger sister (Marcy Leeds) he needs, and punished him to return him until he turned completely. However, before he can reach them, he is grabbed by Esses and others and forced to respect their rules (learning to kill) or they will reduce his (vampire) existence.

The story "near the darkness" is simple and minimalist in design - a cruel and fierce approach to tell a familiar story - but most of them do not feel bold and provocative today as it must be in the late 1980s. The dialogue is a puppy with a poetic commitment and often feels silly than cool, including single -stage that are no longer fashionable. But Bigelow's methodical and inspired direction is still packing. Its a tick to the glamorized masculinity - which made her work as later the iconic "pause break" And Oscar-winner "The Hurt Locker" Such refined and fascinating character studies - are already visible here (if it is not yet in full flow), in an environment that mixes classic horror and western tropes to create a striking blend of fantasy.

For any other moment when the dialogue could fail, there is a grim, delicious barer bar scene swimming in blood and abrupt violence, a chaotic and fast shootout that pays tribute to the high-octane Western, or an old-fashioned duel on the main street where we will learn how efficiently. However, these are not pieces of stocks or unwanted Gore that keep the Bigelow film as a good time. It is the wicked, but weirdly attractive milieu that adds the reinforcement of these different elements. Thanks to them, "close to the dark" feels like a quintessenian horror of the 1980s, retaining a sense of nostalgia and style that is as stupid as it is cool - to put the other way, immortal leather jackets from Badas that meet bad hairstyles.

I am sorry not to educate fantastic actors whose shoulders most of the film rest. Although Passdar did not lead the quality of man at those times (let alone today, he is supported by some of their generation's greatest talents. It is no coincidence that "near the dark" is most remembered for an angry and malicious performance of Pamston as a northern, uncomfortable, evil monster of the night, finding joyful and satisfaction with the bottom of the murder of innocent people. He is an extremely savage here, unstoppable and disgusting, fevering fiercely like hyena high on raw meat and acts with confident confidence.

Right behind him is Henriksen, the wise and charismatic "dracula" of this narrow knit group, often donating a diabolical smile that somehow carries a clue to thousands of sacrifices he had to kill for centuries. As we know, he has overwhelmed in the villain, And it is undeniable of a complete view here. That's not to say that the rest of the cast does not deliver it - Miller's Homer gets a few particularly eerie and perverse moments, and Wright's May is deadly as cute - it's just difficult to emphasize such features as Pamston and Henriksen.

Overall, despite its shortcomings, and sometimes the dated feeling, "near dark" remains an attractive little gem of horror that demonstrates some of the flawless skills of Bigelow's set that she later used in her career, and made it one of her generation's most influential female directors. If you postpone this movie for an unknown reason (of course, I have), I'm here to say that you shouldn't. My only advice is to find the right mood (being nostalgic with thirst for old -fashioned vampire eyelashes) before pressing the play button. Then, hopefully, you will find it as exciting, delicious and unique as fun.