Cathy Stevens has been suffering dark dreams, and believes they have something do with her father. After the death of her mother she travels to political-torn Romania to find her father. However her investigating gets the local police questioning her motives and gaining the interest of a mysterious cult that might be able to share her information about he father.
Director Stuart Gordon brings it home again. If there's a consistent director in the horror genre, Gordon's right up there. Even with the boundaries of a low-budget TV enterprise. Gordon's 'Daughter of Darkness' is an interestingly slow grinding story-driven outing that evokes sensual titillation, dreamy flickering and makes excellent use of the decoratively alienating European locations. The film authentically looks the part and is perfectly shot too. Action is limited and sees little daylight, so does any real sort of make-up FX and special effects. When the latter comes into play, there's quite an inventive inclusion to how these vampires feed on their victims. Nice touch. On the down side the story feels minor, and the developments are traditionally dry and foreseeable. However even if this the case, it's broodingly melancholy styling of such superstitious folklore manages to hold you there and lead actress Mia Sara's sensitive performance helps shape that moody allurement. Alongside her is a modest Anthony Perkins. Even with that wobbly accent, he injects some glassy intensity. Jack Coleman, Robert Reynolds and a scene-stealing Dezso Garas offered good support. Pacing can hit a few bumps, but Gordon's infectious imagery (some piercingly eerie dream scenes) and positional work is efficiently implemented. Colin Towns' music score was nothing you would expect, as I found it to be majestically layered.
Director Stuart Gordon brings it home again. If there's a consistent director in the horror genre, Gordon's right up there. Even with the boundaries of a low-budget TV enterprise. Gordon's 'Daughter of Darkness' is an interestingly slow grinding story-driven outing that evokes sensual titillation, dreamy flickering and makes excellent use of the decoratively alienating European locations. The film authentically looks the part and is perfectly shot too. Action is limited and sees little daylight, so does any real sort of make-up FX and special effects. When the latter comes into play, there's quite an inventive inclusion to how these vampires feed on their victims. Nice touch. On the down side the story feels minor, and the developments are traditionally dry and foreseeable. However even if this the case, it's broodingly melancholy styling of such superstitious folklore manages to hold you there and lead actress Mia Sara's sensitive performance helps shape that moody allurement. Alongside her is a modest Anthony Perkins. Even with that wobbly accent, he injects some glassy intensity. Jack Coleman, Robert Reynolds and a scene-stealing Dezso Garas offered good support. Pacing can hit a few bumps, but Gordon's infectious imagery (some piercingly eerie dream scenes) and positional work is efficiently implemented. Colin Towns' music score was nothing you would expect, as I found it to be majestically layered.