As fans continue to wonder why “Sinners” did not win Best Picture at this year’s Oscars, director Adam Sherman offers a fresh take on the vampire genre with “Vampires of the Velvet Lounge,” released by Strand Releasing.
Countess Elizabeth Báthory (Mena Suvari) presides over a seductive coven of vampires who gather in a shadowy absinthe bar, using modern dating apps to lure unsuspecting victims. Among those drawn into her orbit is R&B singer Tyrese Gibson, who seems to be present primarily for a paycheck. Stephen Dorff portrays his lawyer, accompanying him with a mix of confusion and concern, while Dichen Lachman plays an undercover vampire hunter determined to put an end to the chaos.
Writer-director Adam Sherman leans heavily into style, delivering a film drenched in neon lighting, smoky interiors, and late-night decadence. Visually, there is a strong commitment to atmosphere, channeling grindhouse energy with a contemporary flair. The film aims to be a horror-comedy with a strong camp sensibility, and at times, this ambition lends it a certain offbeat charm.
However, the execution is where the film falters. The screenplay struggles to balance horror and humor, with jokes that often feel more forced than clever. A line referencing dating apps as AI creations hints at satire but ultimately falls flat. Nonetheless, there is an undeniable sense that Sherman understands the allure of excess, even if he occasionally fails to shape it into something cohesive.
To the film’s credit, it does not shy away from spectacle. Blood is abundant, stylized violence, and over-the-top sequences that embrace B-movie territory. For viewers who appreciate that visceral, anything-goes approach, there is enough here to keep things mildly entertaining.
Set in the American South, the story revolves around Báthory—rumored to have inspired Bram Stoker’s Dracula—as she and her coven (including India Eisley and Sarah Dumont) prey on lonely singles to maintain their youth however, when she targets the wrong group—a savvy hunter and a gathering of emotionally stunted men on a misguided boys’ trip—the film spirals into chaotic, glitter-soaked madness.
In the end, “Vampires of the Velvet Lounge” struggles to establish itself as a sharp parody or a compelling horror-comedy. However, its vibrant commitment to camp aesthetics, stylish visuals, and unapologetic extravagance infuses the film with a distinct personality.
This lively flair is enough to keep it from being an utter disappointment, allowing it to stand out—even if it doesn’t fully hit the mark.
Final Grade: C-
“Vampires of the Velvet Lounge” opens in theaters this Frida
