Mad Doctors, Evil Bloodsuckers, and Vengeance in “Lust of the Vampire Girls” review!


After painstakingly trying to argue to her boyfriend that he never hangs out with her drug abusive friends, the woman withdraws to her friends’ exclusive sanctum without telling him. Before he realizes what’s really at stake, the boyfriend learns that her friends are potential Devil worshippers that aim to practice human sacrifices, but little does he know that his girlfriend is beyond the dangers of a Devil cultist as she had unwittingly placed herself in the experimental hands of a mad Nazi doctor named Gunter and his serum produced harem of female vampires and loyal male acolytes. As the boyfriend attempts to infiltrate the cult incognito, he’s overwhelmed by the flesh-piercing, bikini-wearing beauties, but the eldest vampire, whose bored after years of being with Gunter and wants to find true love, spares the man’s life and instantly imprints herself onto him. She shows him that his girlfriend is no longer mortal and promises to be with him forever, but before he can commit, he first must destroy Gunter and his work before the evil scientist distributes a new serum that’ll be able to transform women and men into the upgraded superior race of blood-thirsty vampires.

There have been moments where horror enthusiastic filmmakers have embarked creatively on re-creating cult favorites or re-inventing that of the European, over-sexualized female vampire, Victor Matellano’s remake of Jose Ramon Larraz’s for instance, and most have come out on top with inspirationally faithful stories or portray the particular type of promiscuous vampire. Writer-director Matt Johnson takes a wooden stake stab at the complexities of the homage with “Lust of the Vampire Girls,” his feature film debut, and with a budget that’s resting on a minimalistic mishmash pot of a self and crowd-funded platter, the director runs with his sparsely written script with a vast amount of bodies able to fill a plethora of roles. Instead of mystical, fantastical, or ancient damned souls feeding on the hapless male sex, the “LofVG” story surrounds a Nazi madman injecting his serum into women over the years (No, that’s not an euphemism) which is Johnson’s modern day spin to the genre.

Nameless characters, aside from Gunter, shape the lineup of vampires and humans, starting with Victor Medina as the boyfriend. Medina’s performance further darkens the character whose an utter jerk lacking chivalry and a moral compass, but the actor is able to fulfill the boyfriend’s character arc as he tracks down, and express a figment of empathy toward, his estranged pretty girlfriend played by “Friend Request’s” Amy Savannah. The two battle against each other with petty ventures of, sometimes typically, relationship woes and Medina and Savannah reflect that rather well until coming entangled with Dave Nilson’s Gunter. Certainly fitting the part and wielding a passable German accent, Nilson comes off as power, arrogant, and invincible. In short, perhaps the most convincing performance in the entire film. Leading Gunter’s harem den of vampire girls is a the doctor’s oldest, yet ageless, subject, donned to the lovely Ashley Eliza Parker, whose eagerness falls just beyond the fumes of desperation. Rounding out the cast are Jeff Christiensen, Cherish Dawn, Mary Etuk, Jami Kelly, Flo Median, and Bri Northem.

“Lust of the Vampire Girls” might be billed as a homage to the 1960’s and 1978’s European exploitation, but as the film seeps into a quasi-level surrealistic state garnished with sexy female lasses in undergarments, very much reminiscent of the genre claimed to respect, the allure finitely founders and tilts more toward below a meager attempt that results in wince-worthy acting and female vampires perpetually hissing through their teeth. In the sequence of events, the beginning offers a small non-linear storyline that’s sorely misplaced starting with the pretty girl being lost only to be found by a vampire loyalist, then the boyfriend, surrounded by variously masked cladded acolytes, becomes a sleeper agent in Gunter’s psychosexual church of horrors, but then the couple are having an embattled conversation at a coffee house, and then, before we know it, we’re back at the church again – with, again, the perpetual hissing, underwear garnished, vampires in silky, see-thru robes. Overly sexualized female vampires are a very Eurotrash and the hazy environment is very reminisce of the LSD era, which Matt Johnson pulls off both fairly well, but the greats, like Jean Rollin or Jesus Franco, made them more captivating than just being mindless, eye-candy monsters with a very bad lisps.

Wild Eye Releasing and MVDVisual release Matt Johnson’s “Lust of the Vampire Girls” onto DVD home video. Image quality varies in a numerous shades of tint, but for the majority, there’s a soft glow to the entire stock and macroblocking during night scenes. The stereo track has an unbalance wit about it that’s unsavory in it’s lossy quality during the genre uncharacteristically progressive metal soundtrack and offers a cacophony during scenes of anger and scuffle. Bonus material includes “LotVG” trailer and storyboards. On the surface, Matt Johnson skimmed the exploitation genre the filmmaker was shooting for and whether intentional or not, the quality waivers from script to performance and then there are aspects that just don’t make since (like vampires wearing gas mask..?), but it’s an atmospheric A-to-Z low-budget horror film and nothing more.

Own “Lust of the Vampire Girls!”

Its Bloggin’ Evil Interviews “Vampyres'” Director Victor Matellano!

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“Vampyres” director Victor Matellano takes the time to answer a few questions about his latest film, working with José Ramón Larraz, and working with Marta Flich and Almudena León on difficult scenes!

Check it out!

How did you become interested in José Ramón Larraz’s “Vampyres?” And what possessed you to write and helm a remake? How did you meet Larraz and was he initially on board and enthusiastic with the project? How was the dynamic between you two?

Larraz I met many years ago, in 1996. We were introduced by the actor Jack Taylor and we became friends. Larraz was a good conversationalist, very friendly and fun. At that time I only made short films and had just published a book. Over the years, whenever we saw each other we were talking about doing something together. After releasing “Wax” we planned to make a film together. Why not go back to “Vampyres”, we said. He thought he could make a new version with some changes and I liked very much to work on original material. We reviewed the history, worked up a new script and thought about directing it together. But his illness did not let him. A shame because the idea excited him. Although he came to shoot the teaser presented at the Festival of Sitges.

How much of a challenge was there to recreate, and to slightly modernize, the foreboding atmosphere in “Vampyres” that the original film embodied?

It was certainly a challenge. The idea was to generate new atmosphere. And update characters and situations. Although from the beginning I thought it was necessary to make a timeless atmosphere. If the characters don’t use a mobile phone it is perhaps not so easy to know what time the action takes place. Actually the story of the film is legendary: a group of young people (who would be our Hansel and Gretel) wind up in a forest that is the home of witches who threaten them, offer them sexual pleasures, and eventually devour them.

The original 1974 “Vampyres” is followed by a select niche of fans and has really kept out of the limelight of mainstream horror. Was funding difficult for this type of remake where audiences have probably never seen, or ever heard of, the original film?

One of the things we talked about, executive producer Angel Mora, Larraz and I, was that perhaps the first version was a cult film, but a film generally well-known among horror fans. For this reason we decided to make a new and commercial version. Perhaps investors were too crazy to follow our idea …

Usually, when many production companies are involved, creative differences sometimes cloud the director’s vision, a sort of too many cooks in the kitchen type scenario. Were there, if any, issues with the way “Vampyres” was being formulated and/or being handled from a writer-director/production point of view? Did you feel you had total creative control?

I had a lot of freedom to do “Vampyres”. Angel Mora, my executive producer, reviewed the script, but then gave me freedom to do things my way on the set and I always had Larraz previous ideas. Having several co-producing companies in this case has not been a problem for style or creativity in the film.

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Your rendition of this story feels like a thoughtful tribute to José Ramón Larraz’s work and amongst the lost art of European horror. Was making “Vampyres” the direct result of having a pure love for this Larraz’s film and what kind of reaction we’re you anticipating when screening for audiences?

Well, “Vampyres” is a mixture of film tribute to a kind of cinema, and it’s own entertainment simultaneously. I always had (in my head) wanted to combine respect for the original film and its values, to make a divertimento of horror. Some might discover it as a result of loving gothic literature and cinema, but those who just have fun with blood and sex will also find it.

What kind of preparations (if you know) did Marta Flich and Almudena León (phenomenal casting by the way) tackle in order to portray Fran and Miriam? Were they comfortable with the extreme sexual nature and blood thirst required their roles?

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Casting tests were tough and demanding. Actresses were needed with great determination, courage and strength. Marta and Almudena are very strong and at the same time very funny. They approached the filming of the toughest sequences with humor and much involvement. It is not easy to kiss while being showered with 75 liters of artificial blood above, or to demonstrate sufficient balance between perversion and sensuality. Both the sex scenes as torture are difficult to shoot if you do not have good actors. And they made it easy. The whole team got involved and made it easy. The atmosphere was total concentration.

“Vampyres” had an ending that was left wide open for potentially continuing the story. Do you think you, or Larraz, would pursue adding to the story, as a sort of sequel, if given the financial backing and you had a great script in hand?

I do not know … That version had an open end and this has that too. Perhaps because we are talking about two women (do not know if they are vampires, or cannibals, or psychopaths or ghosts …) who repeat the same ritual again and again as if they were spiders trapping flies. Who knows, maybe later, on occasion, we can return to this terrible story …

What projects are on the horizon that you can give ItsBlogginEvil.com the inside scoop?


I finished a few weeks ago a new movie, a very violent and bloody western entitled “Stop Over in Hell” which has Enzo G. Castellari in the cast. It has begun its journey through festivals with the Almeria Western Film Festival, the only one of its kind in Europe, where Clint Eastwood filmed “The Good, the Bad and the Ugly”. I hope that you soon may see it.

Thank you!

Decadent Evil Takes the Form of Two Blood-Sucking Lesbians! “Vampyres” review!


A dense English forest surrounding a decaying manor house sets as the hunting playground for a pair of seductive female vampires, Fran and Miriam, who have reigned a disconcerting terror through the area’s local inhabitants. When Fran lures and imprisons a touristing male as her bloodletting sexual hostage, Miriam believes Fran is diverging into a dangerous game of simply playing with her food for too long. Miriam proves to be right when a trio of campers stumble upon the vampires’ manor lair, causing a fair amount of distraction when the three friends attempt to uncover the secrets of the area and the myths of the house that will expose the true and terrifying nature of the two vampires. A mistake the three may wish they never would have made.
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“Vampyres” is a Victor Matellano 2015 rendition of the 1974 José Ramón Larraz directed abundantly sensual, over sadomasochistic vampire film of the same title but also known as “Vampyres: Daughters of Darkness.” Matellano’s remake faithfully follows the original storyline and with the assistance of Larraz himself tacked on as a credited writer, Matellano was able to keenly hone in on the ambient tone and the graphic slaughtering display the story necessarily requires to quench it’s own thirst for blood. Let’s also not forget the sex, the sex, and the sex that absolutely sinks it’s teeth into of most scenes. Long time has passed since the rebirth of an erotic creature of the night; a plague of mindless ferocity has been the modern vampire. From “Blade” to “The Strain” to one of the more recent reviews of an independent film in “Black Water Vampire,” a dark cloud of a deformed and mutated species of bloodsuckers have been more popular with the masses. Matellano’s “Vampyres” is a love song to the erotic European vampire that’s powerfully seductive, classically gothic, and simply pure blooded with two fantastic femme fatales.
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Underneath the dark and ominous cloaks are the beautifully succulent Marta Flich and Almudena León as blood fiend lovers Fran and Miriam. Flich and León have a combined total of 5 feature length films between them, including “Vampyres,” but where the duo lack in experience, Flich and León thrive with their onscreen chemistry that delivers an piercing intensity with a dynamic blend of softcore porn and tantalizing terror as if they’re real life lovers with a real life knack for killing. León has previously worked with Victor Matellano under the Spanish director’s prior horror film, 2014’s “Wax,” and their relationship growth comes whole with the addition of Marta Flich, a buxom brunette willing to savor every moment and put forth every effort into some extremely difficult scenes. No two women can make gore sexier than Flich and León.
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Vampires Fran and Mirian heavily overshadow the remaining characters consisting of actors such as Verónica Polo, Anothony Rotsa, Victor Vidal, Christian Stamm, and Fele Martinez who, as a whole, do a fine job performing in this rekindled niche of horror. To add a bit of flare and to help “Vampyres” stick out from above other remakes involving an slew of unknown faces, “Dracula A.D. 1972” and Captain Kronos – Vampire Hunter’s” Caroline Munro and “Tombs of the Blind Dead’s” Lone Fleming have more than cameo appearances, providing familiar genre faces fans know and are attached to when riding along the reminiscing train from the era of which this film’s story is birthed. Munro and Fleming are also accompanied by other genre vets including “Zombie Lake’s” Antonio Mayans, Concrado San Martín from “The Awful Dr. Orlof,” and Hilda Fuchs and the late May Heatherly from 1980’s “Pieces.”
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Visually, “Vampyres” dotes as cinematography worthiness in being a European inspired film from a Spanish production by not being flashy but rather grim and simple. Using elementary special effect techniques, “Matellano” doesn’t cheapen an already intentional trashy vampire schlock film with story stiffening CGI; instead, buckets of blood and practical effects elevate the aspiration toward the resemblance of a 1970’s inspired story complete with broken English performances. Set locations are purposefully vanilla, including a plain small bedroom with white sheets overtop a simple bed frame, a bleak forest inhabited with thin trees, and an isolated manor with middle life bones standing lifeless in the woods, and with key shots staged with vivid conventional colors, such as the bathtub scene that’s feels very clean even with the amount of blood used, and the cellar finale that’s very subtle in it’s background even if it’s the root motivation for the vampires.
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“Vampyres” is one of the best remakes there is, there ever was, and there ever will be by staying faithful to the Larraz’s original film and Artsploitation Films should be basking in the fresh, warm blood of their latest and greatest release. José Ignacio Arrufat’s brooding score seizes to snare the soul from the well balanced Dolby Digital English 5.1 Surround Sound mix laid over a 2.35:1 anamorphic widescreen presentation. With a slight tilt toward a darker variation on the grayscale, the overall picture is clean and unhindered and even though stark colors don’t run throughout, the bland coloring provides richer qualities toward a excellent homage. One thing is for sure, blood red is the only vivid hue here. Bonus features include an Interview with Caroline Munro, a making of the “Vampyres,” and trailer reels of Artsploitation Films films. The modern masses can have their disease-ridden vampire genres for the very fact that director Victor Matellano’s “Vampyres” entices with an alluring butchery based on fundamental foundations of European horror values and endearment, resurrecting the erotic vampire once again!

Buy “Vampyres” on October 18th. Just in time for Halloween!

Teaser: Lesbian “Vampyres” Remake!

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How did I miss this remake of the 1974 film “Vampyres” where a lesbian couple abducts people, both male and female, and hold them captive in their countryside manor in order to kill and feed off their blood.

I learned today that a teaser trailer was released for the Victor Matellano 2014 remake and it looks glorious. The essence of an erotic horror looks captured along with a lot of hardcore throw-in scenes for good measure. José Ramón Larraz co-wrote the film with Matellano. Larraz is the original director and one of the co-writers of the original.

Caroline Munro (Maniac, Slaughter High), Fele Martinez (Darkness). May Heatherly (Cannibal Apocalypse, Pieces), and Lone Fleming (Tombs of the Blind Dead) star.

Be careful at work – this is NSFW!