The defence The Arthouse Gremlin
“Its refusal to behave is the point.”
The strange choices create the kind of friction that follows you out of the theatre and into the argument.
Back to trending 
The Vampire Lovers
Horror · 1970
In the heart of Styria the Karnstein Family, even after their mortal deaths, rise from their tombs spreading evil in the countryside in their lust for fresh blood. Baron Hartog whose family are all victims of Karnstein vampirism, opens their graves and drives a stake through their diabolical hearts. One grave he cannot locate is that of the legendary beautiful Mircalla Karnstein. Years of peace follow that grisly night until Mircalla reappears to avenge her family's decimation and satisfy her desire for blood.
Movie details
The Vampire Lovers
“An erotic nightmare of tormented lusts that throb in headless, undead bodies!”
1970 Horror 1h 31m
Critical arithmetic
One number, for now.
Scores change. Arguments endure.
TMDB
6.4 / 10
Community rating
In the heart of Styria the Karnstein Family, even after their mortal deaths, rise from their tombs spreading evil in the countryside in their lust for fresh blood. Baron Hartog whose family are all victims of Karnstein vampirism, opens their graves and drives a stake through their diabolical hearts. One grave he cannot locate is that of the legendary beautiful Mircalla Karnstein. Years of peace follow that grisly night until Mircalla reappears to avenge her family's decimation and satisfy her desire for blood.
CriticWise case file
What this film says about your taste.
Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.
The archetype split
Who fights over The Vampire Lovers?
For the defence
The Arthouse Gremlin
“The stranger, the better.”
Read their case For the prosecution
The Prestige Tourist
“You like your greatness pre-approved.”
Read their objectionThe split comes from the same five-axis model used by the test, not audience ratings or review sentiment.
Taste neighbourhood
Nearby on the taste map.
TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.
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As an evil takes over the world beyond their front doorstep, the only protection for a mother and her twin sons is their house and their family’s protective bond.
Twins of Evil
Horror · 1971
While dabbling in Satanism, Count Karstein resurrects Mircalla Karnstein who initiates him into vampirism. As a rash of deaths afflicts the village, Gustav the head of Puritan group leads his men to seek out and destroy the pestilence. One of his twin nieces has become inflicted with the witchcraft but Gustav's zeal and venom has trapped the innocent Maria, threatening her with a tortuous execution, whilst Frieda remains free to continue her orgy of evil.
Vampyres
Horror · 1974
A duo of bisexual female vampires prey on passing motorists, whom they seduce and murder in the English countryside.
Salem's Lot
Horror · 2024
Author Ben Mears returns to his childhood home of Jerusalem's Lot only to discover his hometown is being preyed upon by a bloodthirsty vampire.
Lust for a Vampire
Horror · 1971
In 1830, the Karnstein heirs use the blood of an innocent to bring forth the evil that is the beautiful Mircalla - or as she was in 1710, Carmilla. The nearby Finishing School offers rich pickings not only in in the blood of nubile young ladies but also with the headmaster who is desperate to become Mircalla's disciple, and the equally besotted and even more foolish author Richard Lestrange.
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Names above the title
The people responsible.
Cast & crew
Directed by
Roy Ward Baker
Written by
Tudor Gates
Ingrid Pitt
Marcilla / Carmilla
Peter Cushing
General von Spielsdorf
George Cole
Roger Morton
Kate O'Mara
The Governess (Mme. Perrodot)
Ferdy Mayne
Doctor
Douglas Wilmer
Baron Joachim von Hartog
Madeline Smith
Emma Morton
Court is in session
Put The Vampire Lovers on trial.
Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.
The prosecution The Prestige Tourist
“Oddness is not depth.”
A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.