moral struggles

Logan is a Western, and it Changes Everything

Logan makes every other superhero film in the past fifteen years look like a cheap parlor trick. For two hours and twenty one minutes, it locks you in and makes you watch a movie that doesn’t work the way it’s supposed to. It’s uncomfortable and messy and it doesn’t satisfy. Wolverine’s claws are uneven and his kills are ugly. People die with no last words, no proper sendoff and no closure. Logan provokes visceral reactions time and again, not because it’s violent, but because it’s painful, and everything else now looks plastic by comparison.

From the top, let me say I hope this doesn’t come across as some edgy rant arguing for more gore and profanity in superhero films. That’s not my point. I should also confess that I have no experience with the X-Men comics, or with comics at all for that matter. I’m not arguing that The Avengers would have been better with a few more fucks given. All I’m saying is that Logan changes things, and the rest of the genre needs to take notice and adapt.

I expect words like “raw” and “gritty” will be thrown around a lot in discussing Logan. I’m hesitant to use that vernacular because it’s the same language people use to describe The Dark Knight, and the two really aren’t that comparable. They both step outside the box of contemporary comic book movies, but where The Dark Knight is a thriller, Logan is a western, and therein lies the difference that makes Hugh Jackman’s final outing so important.

In the modern Hollywood superhero archetype, the greater message to the audience is apparent to the characters. Superman is a symbol of justice and goodness, and he understands that just as well as we do. In The Dark Knight, Batman represents the basic human struggle between morality and chaos that thematically pervades throughout the whole film. Both forces are at work in Bruce Wayne, and The Joker and Two Face bring that inner conflict into the spotlight. And Batman gets this. He understands he’s a symbol in some broader thematic picture.

In a western, Batman doesn’t get it. We get it, and therefore we have certain expectations about how Batman is supposed to act and how the plot is supposed to go. Batman doesn’t see the deeper significance of his circumstances, so his actions don’t match our expectations. He doesn’t stop to consider what he’s supposed to do in a narrative sense.

The Dark Knight is clean. Maybe that’s controversial, but it shouldn’t be. Yes, Rachel dies. Yes, Harvey Dent succumbs to The Joker’s twisted social experiment, and yes, Batman takes the fall when he shouldn’t have to. But that all makes sense. It fulfills the thematic ends we anticipated when we bought our tickets. We understand what Batman and Joker represent, and we’d be shocked if the movie ended happy. In the end, we get what we paid for. It’s clean. It satisfies.

Logan does not satisfy. It isn’t clean because no part of it understands the rules it’s supposed to follow. Professor X insists on being crass, pathetic and generally wrong about everything, despite our presumption that he’s meant to be kind, strong and wise. Characters die in the middle of fights, dazed and confused with no forewarning, no tidy arc or epiphany and no greater thematic significance. And when they’re buried, Logan offers no words to explain why. It doesn’t resolve the major plot points revealed in the film’s third act. It refuses to give us the explanations we demand. Hell, the whole crux of the plot is that Wolverine’s powers have stopped functioning properly. He doesn’t work the way he’s supposed to.

I also expect Logan will see a lot of comparisons to last year’s Deadpool. After all, the two films mark the first two consecutive steps in Fox’s ongoing experiment in R-rated superhero movies. The difference is that Deadpool puts a filter on the established tropes of the genre, while Logan takes a filter off.

At no point while watching Ryan Reynolds bloodily slice up extras and spout crude one-liners did I see Deadpool as some new norm. It doesn’t feel natural, it feels off. In a good way mind you, but off nonetheless.  Logan, on the other hand, makes everything else feel off. Suddenly, every prior film Fox, DC and Disney have ever put out in the genre looks fake. Where’s the ugliness? Where’s the pain? I’m not asking Chris Hemsworth to start decapitating people in Thor: Ragnarok, but looking back now I can’t help notice all the lines, all the actions, all the moments that felt stiff and unnatural. The Marvel Cinematic Universe has always been primed and focus-tested, there’s no revelation there. The Hollywood blood was visibly coursing right beneath the skin, and everyone accepted it. But now Logan has cut an adamantium gash and the Hollywood is spilling out, impossible to ignore anymore.

Hugh Jackman’s Wolverine holds a pedigree as old as the contemporary superhero film. Tobey Maguire’s masked debut in Spiderman made such a huge splash upon release in 2002 that lots of people forget it was preceded two years by the original X-Men. Long before Robert Downey Jr. became an idol for American children, Hugh Jackman and Wolverine laid the early groundwork that would become modern comic book blockbusters as we know them. The X-Men franchise built the foundation for the genre’s multibillion-dollar card tower, and in one breath James Mangold blew the whole thing down and showed us all what a façade it was.

Up until now, superhero flicks have been Hollywood’s Top 40 pop hits. Sure Batman might switch into a minor key and Deadpool slapped a parental advisory label on the cover, but they still played on the same stations. Logan composes in a whole different time signature. It’s new and different and feels unnatural, and it can’t be ignored.

Have we become too loud?

A conversation with some friends prompted me to speak out about a matter that’s been keeping me quiet for a while now. I think some of us, myself included, have become callously outspoken about our beliefs. I wonder if this general sense of outrage is the result of such a lovely era ending and another, a much less pleasant one, beginning. Are we still trying to get used to this new normal while grasping at the remains of Austin era that we still have? 

We’re celebrating the smallest of victories now, which is not a bad thing in itself. The other side of the coin is that we’re also nitpicking details apart. What used to be quite an easy story to follow has gone back to being a messy false narrative that needs to be deconstructed so it can be understood. It’s disappointing to see them take three steps back. I really do get frustrated by how things are - I’m not immune to this stuff either.

However, I don’t think we’re doing a great service to the J’s when we’re repeatedly pointing out the flaws in their bearding. What if we’re giving the PR forces some free tips instead? 

For example, how much talk do you think Jared’s strained face in “coupley” pictures with G can bear before he’s bullied into applying his blinding grin? He could fake it, just like I’m sure you can give the camera your best smile when the situation calls for it, but he doesn’t. If we keep pointing this out in masses, how long do you think it will take before he receives some strong advice from PR?

I get it. I really do. Seeing him like that enforces our beliefs, and while supporting the J’s shouldn’t be about how we (the fans) feel, we all have egos and we want to be right. Rubbing our thoughts and observations in everyone else’s faces continuously just doesn’t seem like a helpful strategy to me. Shaking the closet of two men who are probably contract-bound to it doesn’t feel like such a good idea right now, especially since they seem to be in the process of enforcing it. 

Does a happy medium even exist? Is there a way we can show our love and support without being mildly threatening? How can we tell them that we see them while not challenging the narrative that they’re pushing? 

Originally posted by mooseintheocean

anonymous asked:

What did you think of the final confrontation between Zuko and Azula? I think Azula embodies the dark path Zuko could have easily taken in the face of his personal and moral struggles if it weren't for his uncle, his mother and obviously himself in the end. It'd have been powerful to have him defeat her, thematically speaking. Why did they have Katara defeat her? What did that accomplish? Many criticize the Aang/Ozai's deus ex machina solution, but this one was even more disappointing to me.

The showrunners made that decision because defeating Ozai and Azula is a dramatic formality - what matters to character development is that Zuko defeats what is worst in himself. (The other protagonists, too.) And I love it.

The key to the character development decisions in the finale is found in the season two episode “Bitter Work.” That episode shows Aang struggling with the philosophy of earthbending, having difficulty standing his ground against a falling boulder. It also shows us Zuko, motivated by his rivalry with Azula, say “screw basics, I want lightning!” In the end of that episode, Aang gets enough of a grip on earthbending to at least use it, while Zuko learns how to redirect lightning.

In the finale, Aang shows his mastery of earthbending philosophy as he stands his ground against Ozai (so much worse than a rock), and Zuko decides to use his lightning redirection to save Katara, at the cost of a chance to definitively beat Azula into the ground.

But the other thing is, by the time Azula takes that cheap shot at Katara, it’s clear Zuko’s already won everything that matters.

In terms of firebending, Zuko was having that fight all his own way. Go back to Zuko’s first fight against Zhao and listen to what Iroh tells him - then look at Zuko’s footwork in the finale. His feet aren’t going anywhere but where he wants them to go. Also his breathing, the source of firebending. Zuko’s breathing is controlled; Azula’s chest is heaving. Even with the massive power boost the comet’s giving both of them, it’s more than possible to tell that Zuko’s firebending is neat and precise, and his defence is now solid as a rock. This is a trend that’s manifestly apparent through the last quarter of season three. The gap in the fight occurs because Azula’s worked out that Zuko’s winning, and she needs to change her tactics.

Then there’s the fact that Zuko has someone to jump in front of at all. In Katara, he has a friend so steadfast she’s come along to the middle of enemy territory on the day firebenders are most powerful to back him up in his fight. Meanwhile, though Azula tried to compel that sort of loyalty from Mai and Ty Lee, she couldn’t. Mai chose Zuko over Azula, and Ty Lee chose Mai over Azula. She’s alone, but Zuko has friends and family. She’s devastated by Ozai turning his back on her, but Zuko’s past it.

Zuko’s never been better off, and Azula never lower. He’s got nothing more to prove - not to himself, not to Ozai, and not to Azula. It’s not relevant which of Zuko or Katara strikes that final blow, and boy does that go to the heart of Azula’s own insecurities.

Third thing. Zuko saves Katara with a firebending move drawn from the principles of waterbending. Katara finally defeats Azula by freezing them both in a big block of ice and then breathing out water to free herself. Which bending discipline is based on the breath, again? Firebending. Katara defeated Azula with a waterbending move drawn from the principles of firebending.

Instead of Zuko giving it all to definitely absolutely positively defeat Azula personally and win a fight that, as I say, he’s already won, the writers preferred to show Zuko prioritising Katara’s life over his own family drama, and how both he and Katara have learned from each other.

Chloe Hollings (Widowmaker’s va) posted on twitter recently that she was back in the studio to record new lines.

We know Widowmaker still feels “something” over the death of Gerárd, and some of her voicelines imply that she regrets killing him.

Blizzard releases info about Efi, a genius 11yo robotics inventor, traveling for the first time.

Calling it now: Widowmaker is sent on a mission to kill Efi, but fails due to an emotional and moral internal struggle.

Edit: “when I was a little girl…I had a fear of spiders. I was told that they had no emotions… That their hearts never beat…” “But today, I know the truth. Spiders can feel fear. …and still feel love.”
What would Jon truly do for love?

This is inspired by something I said in my new meta but wanted to get my thoughts out about it separately.

If Jon is fighting for his family and he knows that the best way to compel someone to take on this seemingly impossible cause that will require great sacrifice is to give them something at stake in the survival of humanity, then it makes some sense that he would do the things he’s doing. It is after all what compelled him to take up the cause again when he did not want to.

At the beginning most appeals from Jon and her advisors preyed on Dany’s perceived altruism and ego. Jon appealed mostly to her altruism, something they both seemingly share, and tried to convince her she should want to help because it’s the right thing to do for the greater good. He tries to convince her that none of this matters because westeros will die and if she cares about humanity at all then she will make sure that doesn’t happen. Tyrion attempts to persuade her by appealing to her ego. She can’t sit on the throne as queen if there are no subjects to rule so she should help preserve the realm to keep agenda from being in vain. It’s the same persuasion method he uses to stop her from torching Kings Landing. She didn’t refrain from using dragons on KL because it’s wrong, she didn’t use them because she came to rule people not ashes. This is also repeated by Tyrion himself when he tells Ceresi that Dany is kept in check by the people around her, not by her in inner sense morality and honor.

Dany’s struggle with balancing her altruism and her selfishness comes because Dany has noting truly at stake in the survival of humanity besides her selfish agenda. She has no family, she can’t have children and throughout series these two things have been the biggest weak spots for even people like Ceresi in the past. A good example for this is Jamie Lannister in the finale. Jamie tries to appeal to Ceresi to fight for the sake of their future child and their family. Jamie finally breaks his toxic cycle with Ceresi and goes to fight to save the realm because it’s the right thing to do and because he has something at stake, he has a child on the way, he has Ceresi who he loves, he has Tyrion, you could even count Brienne in as well. These things inspire Jamie to fight right away and yet people like Ceresi and Dany are slow to act because of their own conflicting agendas. Dany is a good person at heart but she’s also many other things, and she has nothing to consistently draw that goodness out in this matter besides her advisors, who she’s gradually become disillusioned with. Jon has personally witnessed this with his own eyes while at dragonstone.

This is why neither Jon nor Tyrion make any real progress with Dany. No matter how many times Jon begs Dany still will not help without him bending the knee, a sign that Dany is not as altruistic as she believes she is. Dany only wants to do the right thing when it doesn’t conflict with what she wants. Tyrion continues to fail to convince her because she’s so invested in winning, anything that sets that goal back is not worth it to her. That’s why she wouldn’t even do it after she’s told that the NK marches on Eastwatch and why Tyrion has to come up with the disastrous plan to convince Ceresi to call a ceasefire. As long as the war continues it will continue to override Dany’s flimsy sense of duty to the greater good. The only person who makes any real progress with Dany is Jon and this progress is completely unrelated to the war with the dead. He doesn’t manage to persuade her to help fight but he does manage to make her grow fond of him. You can see Jon noticing how Dany looks at him and responds to him. He’s not an idiot. However he seems completely unaware of what to do with that new development. At times he almost seems uncomfortable with it but he doesn’t reject her because that’s stupid when you need something from her. What’s important is he doesn’t play on that right away, he doesn’t call on this development until he feels like he has to because Dany isn’t who she thinks she is. The first, and in my opinion the biggest test for who Dany is and what truly controls her behavior comes just before Jon leaves and I believe it changes Jon’s method of persuasion with Dany. What happens just prior to Jon leaving Dragonstone?

Dany takes her dragons to war.

Just before Jon leaves dragonstone Dany is faced with a choice. Make a new strategy to win the throne or give into her darker impulses by using her dragons on people. Jon himself presents this choice to Dany as being better or being more of the same and Dany chooses the less altruistic choice. She uses her dragons. Jon doesn’t know everything that she did but he knows enough. She had the choice to not unleash these massive weapons on people for the greater good but chose to do it any way. That says a lot about who Dany truly is inside and about what it’s going to take to convince that this fight is worth fighting.

When the wight hunt ends in disaster Dany comes and saves them all from danger, but it’s important to note that Dany doesn’t come for the greater good, she doesn’t even come for her long time friend and advisor, she comes for Jon. Dany is moved to help because she has feelings and she personally has something at stake in this mission. Her concern is complexly focused on Jon before and after she comes. Even after she looses a dragon she’s still worried about Jon more than anything else it seems.

Jon probably already knew she came for him when she got there, but if he didn’t know then he for sure knows that’s why when he opens his eyes on that boat and sees her holding vigil at his bedside. She had just lost a dragon and yet she’s as his side worried about him. I think this is when Jon figures out how he can finally appeal to Dany to keep her in this fight. Its him, he’s the key to making sure Daenerys stays in the fight to save the realm no matter what. It’s easy to say that he should have been relieved that Dany agrees to help but look at why she’s helping not. Doesnt say she’s a gonna help because it’s the right thing to do and she gets that now. She wants to help now because she lost viserion and she wants to defeat the people who took him away from her. Basically by this point it’s become clear that Dany can not be counted on to fight this war for altruistic purposes so he has to give Dany something at stake in this war. He has to get her personally invested in this fight for a reason outside of the ones that have failed to convince her before and her newfound grief and desire for vengeance, and the only way he can think to do that is by giving into the affection she clearly holds for him, the affection that is already staring to influence her behavior. He has to prey on the one of the biggest that motivators in this world, he has to prey on the thing that’s ultimately motivating him: love. His love is rooted in his family, hers is rooted in him. Without that Dany has nothing to loose and is liable to let her other selfish needs override her desire to help the greater good like before.

He also preys on the second biggest motivator in the world: family. If me and the rest of the brilliant people who have voiced a similar opinion are right, this motive would explain why we see Jon giving Dany hope for having children in the finale. Dany having children one day gives Dany a family and something else at stake in this war. This whole time she’s been under the belief that she can’t have any, and that is part of why she’s so heavily invested in this war and those dragons, he’s seen how invested she is in those dragons because they are the only children she will ever have. He sees how they move her and influence her. This war and those dragons are they are all she truly has. If she thinks she can have more than just a throne and those dragons then she will fight hard to make sure she gets a chance to see it. She will fight for her future no matter what and sacrifice whatever she has to in order to do so, just like everyone else fighting in this war is doing it because they have someone they love at stake and they have a family at stake.

Jon is the perfect person to recognize this as a way to get influence Dany because it’s why he fights. He’s doing this for the greater good but most of all he’s doing this for the people he loves. He’s fighting for Sansa and Arya and Bran. He’s fighting so that all of them and even he can have a future, future that’s hopefully brighter than their painful past.

This is the only way I will ever buy that Jon is willing to break his oath to all those men he asked to fight for him, give away his homeland and risk turning even the people he loves most against him for Dany. He would never do those things out of love for Dany, but he would do it for love, love of his family.

“The struggle against the ‘old faith’ as undertaken by Epicurus was, in a strict sense, a struggle against pre-existing Christianity: a struggle against the old world grown senile and sick, already gloomy, moralized, and soured by feelings of guilt.”

—F. Nietzsche, The Will to Power, §438 (edited excerpt).

(Request) Dirty Desires

Title: Dirty Desires

Characters: Negan x You/Reader

Requested by: @hardelvencock

Hey I’ve been wondering if you can do a smut one shot(?) Where it’s s7 episode 1 and where the reader is in the line up and is being degraded by negan and (also maybe humiliation in front of the group) you’re loving every second of it.

Warnings: SUPER NSFW, rough sex, humiliation, degradation

Note: This is a long one and very, very NSFW. If any of the aforementioned warnings might trigger you, please do not read. Also, Negan doesn’t have any redeeming quality in this so yeah. But I enjoyed writing this so much (even if it’s my first time writing this kind of smut) so thank you hardelvencock for the request! I hope you like it! xoxo

“Oh my goodness! Look at this!”

You were supposed to feel scared, to fear for your life and most of all, be angry. Abraham had just been killed by Negan and he wasn’t just killed. He was bludgeoned to death, his head bashed in by a baseball bat countless of times as if the first blow wasn’t enough. And being a good friend of the soldier, you were supposed to despise Negan. And you did, not because he killed one of your own.

But because he turned you on.

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WOOOOOOO OKAY 2.2k sidgeno beauty vlogger au for @honeycombhenry because i got e M O t i o n a l thinking about her art 


“A lot of you have been asking me about how and why I started a makeup and beauty vlog,” video-Sidney says, his voice a little scratchy. Zhenya had been listening to the new update on the accidentally-stumbled upon channel, which had quickly become one of his entertainment go-to for the charmingly shy and genuine personality (Crosbeauty, he thinks fondly, what an adorable little nickname) and lovely face behind the camera, in the locker room as he changed sluggishly, when video-Sidney admits, “I’ve been really putting off answering that question, but I hope that my answer will help encouraging some younger people who may be in a similar situation.”

At 8.7 million subscribers, Crosbeauty is one of the most-followed and loved YouTube channels, featuring a Canadian man who talks about his love for hockey while testing various makeup brands to see if they really live up to the hype. Zhenya’s favorite thing, he thinks, is watching Sidney tuck back a stray curl behind his ear as Sidney gazes off-camera, talking about the team’s stats, his day, visiting in parents in Cole Harbour and, as always, thanking his audience with his usual ending catchphrase and thumbs up, “Thanks, everyone, see you next time. Remember to get up every morning and do something that you love. Wouldn’t that be amazing?”

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[M] We Are the Universe // BTS’ J-Hope

[A/N] Inspired by heungtanbts with her Namjoon oneshot because we’re all just shooting stars.

Fluffy late night smut.
Word Count: 2.9k.


Soft footsteps padded to where you were sitting at the kitchen table, cheek resting on the flat of your palm and gaze directed at the night scene beyond the window. A voice cleared its throat. You hummed in acknowledgement, wordlessly inviting your visitor to join you, but it wasn’t until arms draped around your shoulders and a chin rested on top of your head that he spoke.

“Couldn’t sleep?”

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many an edgelord has observed that morality is purely a human creation, and has thus concluded that it must be fake, and lame, etc.

this, of course, misses the whole point- morality is social technology.

imagine a prehistoric community of hunter-gatherers. they’re doing decently for themselves but they have a problem- conflicts in the community keep escalating to violence, even killing. so a moral edict is created- “do not spill blood”- and people following this edict helps to keep conflicts from spiraling out of control, increasing the overall welfare of the community. decades go by, and with the help of the social technology of morality, the hunter-gather community has settled down, developed agriculture, and formed a small early city.

then someone in the community figures out how to drain poison from snakebites, or some other early form of surgery- and a problem emerges, because according to the moral edict, this practice is banned, since it spills blood.

so an underground develops, of people using these banned practices. and the society struggles to stamp this out, and the underground surgeons struggle against this repression- until as a result of the struggle, it is realized that the moral edict is flawed, and is preventing well-being, rather than encouraging it. so the moral edict is revised to “do not spill blood involuntarily,” legalizing surgery, and further improving the well-being of the community.

through this process- a dialectic between hegemony and counter-hegemony, an alchemical process of the conjunction of opposites- the social technology of morality is refined and improved.

both moral realism and moral nihilism stymie this process. we must not fall into the trap of thinking morality is One Definite Unchanging Thing. and we also must not fall into the trap of thinking morality is Fake And Lame And Nothing Matters.

we must remember that morality is social technology, which must be continually revised and rectified, through a repeating process of revolutionary struggle.

I love rambling about villain progression

Like I think it’s more important than the heroes

If a hero doesn’t get proper progression and set up, it’s lame
If the villain didn’t than the nature of the story is thrown out of balance

The morals, the struggle, and the entire freaking point of the hero existing

A strong and solid hero is important
A strong and solid villain is vital

The X-Men are great, but without Magneto you lose half the point of them existing. You lose the side of the coin that decided to not be the bigger person

Luke Skywalker is great, but without Darth Vader you lose the entire concept of duality and balance and struggle with the Force

Batman is great, but without the Joker you can’t understand his personal limits and self control and psyche

A great villain can show off all of the good and bad in a hero

So treat your villains with respect
Give them reason and purpose
Make them intimidating and terrible and unredeemable
You should love to hate them
You should want to see them lose and have the hero reign victorious
You should feel almost bad for them, realize what they’ve done, and decide maybe they don’t deserve your sympathy

A great villain shapes the hero, the narrative, and demonstrates the lessons and morals you want to teach your audience

Seska could have been a great villain.

But later on they made basically her entire story arc about Chakotay.

Instead of actually telling the story about someone that was far from her people, having already been isolated from them a long time undercover. Literally looking like her enemy. That is such an interesting concept to explore an identity. Seska tries to get home, but she has a completely different sets of morals and ideas about the world than Captain Janeway.

A continued comparison between Seska and Janeway could have been very good. We could have seen Janeway’s struggle between morality and pragmatism so far from home, set against Seska’s continued aggression towards Voyager because she knows that’s her best way to get home as well. 

We could have had an exploration of two characters that are equally stubborn, equally crafty and equally determined to reunite with their people.

As time moves on, Janeway became more pragmatic. But does Seska become more compromising? Does being so far from home means she also slowly changes? Just as Janeway is far away from the backup and the black and white moralism of the Federation, Seska is far away from Cardassian dichotomies of war (We and them, never compromise, everything for Cardassia).

Seska could have been great. So many possibilities to explore.

amanda-da-derp  asked:

Best vampire movies? In asking for a friend...

Oh. Well, this is just my opinion and recommendations (and I know Cora made a list too) so…

  1. Interview With the Vampire (1994) - Honestly a classic. Who doesn’t love Louis and brat prince Lestat and their love-hate relationship and attempts to keep their family with Claudia together over the passage of time? 100% recommend the books too to anyone who hasn’t read Anne Rice’s work. 
  2. Dracula Untold (2014) - A take on Vlad Teppes becoming Dracula. Looks amazing, has incredible acting and I assure you, you’ll cry. Give me a sequel already. 
  3. Fright Night (2011) -  Oooh controversial opinion time! Yes, I picked this over the original. It’s definitely less scary than the original but the comedic elements/general aesthetic of the movie more than make up for it. Also Collin Farrell as a vampire. 
  4. From Dusk Till Dawn (1996) -  Bank robbers and the family they’ve kidnapped end up in a club full of vampires and have to try to survive until day comes. Wasn’t a box office hit but has a cult following. There’s also now a tv series inspired by it that develops the characters and background witch I recommend too! 
  5. Blade Trilogy (1998-2004) - Based on the Marvel comics. It follows the titular Blade - a ‘daywalker’ - on his endless battle against vampires. The third film does have a lot of controversy surrounding it and it’s not as good as the other two but give it a watch if you like. 
  6. Only Lovers Left Alive (2014) - Probably the most human vampire film in existence. It’s emotionally powerful and deals with depression after centuries of existence. It’s a slow-burning movie and a beautiful tale. 
  7. Dracula (1931) - Honestly the movie we have to thank for vampires becoming such a pop culture staple. Bela Lugosi’s Dracula still continues to define the character and is responsible or the persistent ‘vampire accent’.
  8. Let the Right One In (2008) - Follows a young boy and a vampiric little girl. Another one that’ll make you emotional. Watch the Swedish version over the American remake. Check the book out too!
  9. What We Do in the Shadows (2014) - Mockumentary following vampire flatmates and various other supernatural beings. It’s basically about mundane life but… with vampires and it’s comedy gold. 
  10. Byzantium (2012) - Follows a mother/daughter vampire duo. No high class vampires here, our girls are portrayed by as the lowest rung by society’s standards. The movie is gorgeous and again, a more emotional take on vampires and the problems vampirism can bring. 
  11. The Addiction (1995) - This movie uses vampires to make social commentary. It deals with some heavy issues: AIDS for one, drug abuse for another. But it also explores new age religion and a generation rebelling from what they’ve known. It’s a pretty philosophical movie dealing with peoples’ fluctuating and shifting mindsets. 
  12. Dracula’s Daughter (1936) - Follows - you guessed it - Dracula’s daughter (The Dracula from the 1931 movie). This movie is astounding for its time because it’s a big ol’ lesbian fest and Marya’s quest to rid herself of her vampirism is symbolic of ‘curing’ gay/lesbian individuals.
  13.  Kiss of the Damned (2013) - A screenwriter falls in love with a woman who turns out to be a vampire and is turned by her. They survive by feeding on animals, and everything is going well until our leading lady’s vampiric sister shows up to cause chaos. 
  14. Hotel Transylvania (2012) - An animated movie in which Dracula owns a hotel where the monsters of the world stay, and is about to celebrate his daughter’s - Mavis  - birthday. Things go awry when human Jonathan shows up. Honestly, people dismiss animated movies far too much. This one is high-energy, funny and definitely enjoyable for adults as well as children. 
  15. Bram Stoker’s Dracula (1992)  - Another take on the iconic novel. The movie is, honestly, hit-or-miss and at times over the top, but Gary Oldman as Dracula, Winona Ryder as Mina and Anthony Hopkins as Van Helsing are delights you can’t pass up on. Even if it’s kind of a wild ride with how OTT it is, it’s a fun one. 
  16. Thirst (2009) - A South Korean movie that follows a young priest. He tries to help with aid work during an epidemic but ends up infected himself. A blood transfusion saves his life but that blood was vampiric and thus he himself is now a vampire. You can imagine the deep moral and spiritual struggle this causes the devout man as he tries to keep a hold of his humanity.