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Stake Land

Stake Land

Drama · Horror · Science Fiction · 2010

Martin was a normal teenage boy before the country collapsed in an empty pit of economic and political disaster. A vampire epidemic has swept across what is left of the nation's abandoned towns and cities, and it's up to Mister, a death dealing, rogue vampire hunter, to get Martin safely north to Canada, the continent's New Eden.

Movie details

Stake Land

“The Most Dangerous Thing Is To Be Alive.”

2010 Drama · Horror · Science Fiction 1h 38m

Critical arithmetic

One number, for now.

TMDB

6.2 / 10

Community rating

Martin was a normal teenage boy before the country collapsed in an empty pit of economic and political disaster. A vampire epidemic has swept across what is left of the nation's abandoned towns and cities, and it's up to Mister, a death dealing, rogue vampire hunter, to get Martin safely north to Canada, the continent's New Eden.

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 Stake Land?

The 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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Where it lives

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Names above the title

The people responsible.

Directed by

Jim Mickle

Written by

Jim Mickle · Nick Damici

Connor Paolo

Connor Paolo

Martin

Nick Damici

Nick Damici

Mister

Danielle Harris

Danielle Harris

Belle

Kelly McGillis

Kelly McGillis

Sister

Gregory Jones

Gregory Jones

Martin's Father

Traci Hovel

Traci Hovel

Martin's Mother

Marianne Hagan

Marianne Hagan

Doctor Foley

Court is in session

Put Stake Land on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

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.

The prosecution The Popcorn Loyalist

“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.