Alicia, a reporter working tirelessly on reports of missing children, receives a letter from Erda of Limbo, a haven for unwanted children located in an isolated area of Argentina. When Alicia arrives, she can’t shake strange inklings that the children’s faces seem familiar to her. Come to find out, all the children are vampires, created shamelessly by adult vampires, and now some of the vampires, some elder in age who are stuck in the body in which they were turned, live under the care of their human caretaker Erda. However, the children are not safe as vampire hunters have assembled around their serene community, lying and waiting to drive a stake into each of the timeless vampires. Their survival depends on Erda, Alicia’s reporting, and the 90-year-old grandson of Dracula himself. Though the community of vampires seek to reap the world of mortals as they have an apocalyptic plan to put in motion.

“Children of the Night,” also known under the original title “Limbo,” is written and directed by Ivan Noel and under the thumb of numerous Argentinian producers and actors, the mythology of Dracula lives yet again on screen. The film uniquely puts a different spin on the old Prince of Darkness tale, creating a jutting story that surrounds a scenario with Dracula’s bloodline kin. While the idea touches on the rarity of vampire children, contrasting with “Interview with the Vampire” or more recently “Let The Right One In”, there arguably lies missing pieces to Noel’s film to properly complete a story of this size and, perhaps, the microbudget hindered and faltered under financial stress rather than just becoming a medium of storytelling. For instance, much of the background on Erda’s writing to Alicia’s to travel to Limbo isn’t necessarily forthright and that feels neglected not on purpose, but rather feels neglected absentmindedly and financially.

Secondly, the children characters vary in age and the girth of their long lives should have been explored more to develop more meaningful characters. Noel’s version bypasses many valuable characters and their traits to make the children of the night more likable, or hated, or something, because in Noel’s version, the children could live or die and not an emotion would be concerned. Noel does bring a certain enigma to children’s position in the world as we’re not totally convinced their evil or well-intentioned. Children caregivers are similarly forgotten when regarding their attributes. Alicia’s and Erda’s hemophilia condition is suppose to echo the children somehow, but the idea barely misses the cutting room floor completely and is only mentioned briefly upon Erda’s and Alicia’s initial meeting.

The specials effects are minor, but effectively garnered. The majority of the effects shine through the second and third acts, especially during the all out bloody vampire hunter and children vampire brawl in an open field where children will be children and play with their food before slicing and sinking their teeth right into the necks in a blood splattering type fashion. I also thought the wooden stake on a rotating drill was a fascinating, if not very phallic. Along with this gruesome play yard greet and eat, comedy is sprinkled in throughout the duration, but some of the material falls flat; the comedy feels dated or obsolete, offering nothing new to that side of the genre. “Children of the Night”, simply put, is a vampire film with a feat of a concept, but the film lies at the fringe of being a horror-comedy that stirs up calamity with my critique about Ivan Noel’s semi-serious take on the Dracula mythology.

The performances are little to be desired for with the inclination that the actors, mostly involving the children, are being spoon fed dialogue or given cue cards, especially in more serious toned scenes. Dracula’s grandson The Count becomes the poor performance scapegoat. Child actor Lauro Vernon portrays The Count and his naturally sculpted ominous almond shaped and gloomy eyes, protruding upper lip, bronze skin, and lanky thin features creates a stereotypical creepy child archetype, but Vauro’s attempt to execute a Dracula-esque character, waning the powers of Dracula, is less expressive and more passive in deliverance. The Count in the script is powerful; one who oversees the children as a protector and a worthy warrior against a vast superior, well armed vampire hunting band of men, but instead the character weakly wanders from scene-to-scene even when his flock is being picked off and staked one-by-one.

“Artsploitation Films” releases this 2014 Spanish-languaged Argentinian film on Blu-ray and DVD. The Blu-ry is presented in a widescreen 1.87:1 aspect ratio and looks fairly decent during daytime or lighted scenes with slightly noticeable ISO noise. However, with a film titled “Children of the Night,” night scenes more common and also reek more havoc on the quality as many of the night scenes maintain a blocky posterization with the digital film. Digital noise also plagues the digital film produced during low lit scenes, creating undefined shadows and blob-like shapes. Overall, “Children of the Night” has a fair share of budgetary quirks and flaws and the story loosely presents itself with an unclear and oddly edited lineage. Totally ignoring this release would be a mistake as producer, writer, and director Ivan Noel has fain under the limitations and manages to technically achieve a few great medium and long shots, though Noel seems to be attached to the closeup. Check out “Arsploitation Films” Blu-ray or DVD release of “Children of the Night” for another take on the mythology of Dracula!