We Are The Night

A love triangle with fangs but no bite, the German import "We Are the Night" is mostly infatuated with its own stylish excesses.

Stylishly reinvents juvenile pulp with flashy pyrotechnics.

Gansel compensates for the story's lack of emotional heft with rousing chase scenes and impressive, near-poetic CGI set pieces, and works in a sly suggestion that vampirism is the ultimate expression of consumerist indulgence.

an odd - and therefore interesting - blend of genetic elitism, feminist emancipation and rave-culture hedonism, where oldworld bloodlines leave a trail imprinted in the postmodern age - all wrapped in a slickly stylish audiovisual package.

It's stylishly constructed and a better feminist vampire yarn than Twilight, but still problematic in itself.

A slick, stylish (sometimes silly) vampire import. (Avoid the English dub version!)

It's ambitious, energetic and downright fun. Director Gansel and his female-led cast manage to breathe refreshing new life into what some feel is an overdone subgenre in horror these days

I had so much fun watching this exercise in gory genre silliness I almost don't know where to begin.

We Are the Night's primary interest seems to be wish fulfillment, but it's hard to tell at times exactly whose fantasies these are supposed to be.

Consumed with arranging a pretty picture than securing a ripe female-slanted take on seductive acts of evil and decadence. It's a fireworks display, not a meaty reinvention of a rusty genre.

This feels like a Luc Besson genre knock-off in the best sense of that phrase -- a spunky, stylish mash-up of vampire flick and police procedural, with just a dash of doomed romance. Demerits for the dubbing, though.

...No genre-changer...but it's bloody, occasionally clever and wears its underlying message about the perils of power lightly...