The classic vampire tales seem misplaced in the horror genre, replaced by the subgenres of increasingly found-footage, paranormal stories, and a breeding ground of zombies, with highly intelligent serial killers stalking the edge of the landscape, however, directors Mark James and Phil O’Shea conjure a new version of the undead creatures everlasting eternity blood feeding and expansion of their race. Their story doesn’t contain the references to Bram Stoker or his counterpart Dracula, nothing dealing with Carmilla or even a hint of Countess Elizabeth Bathory, rather everything centers on the modern day with a very low budget movie highlighting a lesbian vampire relationship between a mortal and undead creature, carrying a baby the result a vampire rape.

This sets a few interesting items in place, and gives new meaning to a family dynamic, a female vampire (supposedly) raped by a male counterpart, and results in an offspring growing within herself, to care for the baby alone. First, understanding that abortion the little devil, might kill herself, similar to many stories of crossbreeding and alien species the dangers of aborting prove more dangerous, hence ensuring proper breeding and carrying on the race. Second, her understanding that her species needs every offspring to continue the longevity of them to fight and live for their existence. However, the story starts with a documentary filmmaker Holly (Morven Macbeth) who encounters Vicki (Anna Walton) while filming a group of friends who enjoy blood drinking in the dangerous age of AIDS and consider themselves Weekend Vampires of the London clubs. Early in the documentary, one finds the stereotypical young individuals dressed in gothic styles and role-playing the vampires’ sexuality, feeding all to dance club music. In a chance meeting, Holly discovers Vicki stalking her with a camera watching carefully how her prey responds and appears to her, where she reveals that she is real vampire. The story moves extremely quick avoiding the same gothic stories which develops fans of the genre to understand and cherish, but sadly, the film loses the horror edge and slips past the thriller stage, tucks into the dark drama genre. Now for the twists, one learns that Vicki, at birth was given up for adoption and her parents removed her fangs, all four (upper and lower) strange but justifiable, pregnant with a vampire baby, a lesbian, and she casts a reflection. Soon enough the two lovers provide both T&A for the audience and begin a gothic killing spree for continually feeding the babies needs with rich thick blood. The most curious method of takedown for a vampire with fangs, a stun gun and has two prongs leaving the distinctive marks like that of a vampire, so often the audience wonders if Vicki is a real vampire or just suffering from an unknown psychosis.

Therefore, O’Shea has changed the entire vampire concept, except the blood feeding, and allowing the lesbian tendencies a more erotic charge scene, than sheer exploitation normally created in the genre, the romance of the vampires often label unimportant or just carnal behaviorism run amuck. Many fans wonder if the Vampire/Dracula storyline had any places to branch from its own lineage; however, the creation of The Strain television still shows the passion of both filmmakers and fans to grow the genre. It takes the moment to view the latest creations from Blade the large corporations control everything, to reversing vampirism in both the classic Near Dark [1987] and the re-humanizing of Adam Ant’s character in the horror comedy Love Bites [1993], there contains room to grow it once again. Although, films need a steady and well-paced development, to make the story suck the viewers into fantasy with ease, and not resistance. Hence the issues of plot holes, and while limited the footage mainly to Holly’s and Vicki’s video camera thereby creating the title of the movie, as a visual recounting than a voice-over reading passages, tending to create a found-footage movie, and very pleased it never went too far on that track.

Nevertheless, the story still holds the key concept that feeding must occur and spurge on the forgotten and ignore masses of society’s dregs, the unwanted masses, littering the city streets, and that human blood finds itself as a wonder commodity. In addition, the DVD box art from Monarch Home Entertainment stellar quality showing the balancing of staying out of the blood, awhile it cascades down enticing her into the temptation to indulge in the risqué pleasure of it and the relationships which develops from deep mutual love to cure loneliness.


  • Lead Us Into Temptation.

IMDb Rating: 4.2/10

Baron’s Rating: 4.0/10