Mickey Reece - who co-wrote this film with John Selvidge, has made two movies a year since 2008 and I haven't seen a single one of them. After watching Climate of the Hunter, that will definitely change. It's all about two older sisters awaiting the return of a childhood friend named Wes, one they both have romantic feelings for. He's definitely a writer, but he may also be a vampire.
Alma (Ginger Gilmartin) and Elizabeth (Mary Buss) can barely be in the same room with one another, but now they're staying at their family's cabin together, right next to the aforementioned - and very mysterious - Wesley (Ben Hall). His strange behavior has led one of the locals - the wonderfully named BJ Beavers (Jacob Snovel) - to determine that this man of letters is really a count of blood, so to speak. And as for Alma, well, she can barely stay attuned to this reality, much less be able to deal with a bloodsucker.
Of course, even vampires have families today, which include a son (Sheridan McMichael) who spikes dinner with garlic and a wife (Laurie Cummings) who must rely upon facelifts to appear as youthful as her vampiric paramour when she isn't in an institution.
Further complicating matters is the short visit from Alma's daughter Rose (Danielle Evon Ploeger), whose youth and beauty take Wesley's attention away from our protagonists.
This is a film that sparkles with modern dialogue while calling to mind the cinema of the 70's, particularly ones that set up dark spaces where female characters slowly lose their minds. Most strikingly, one scene borrows liberally from Daughters of Darkness.
Alma (Ginger Gilmartin) and Elizabeth (Mary Buss) can barely be in the same room with one another, but now they're staying at their family's cabin together, right next to the aforementioned - and very mysterious - Wesley (Ben Hall). His strange behavior has led one of the locals - the wonderfully named BJ Beavers (Jacob Snovel) - to determine that this man of letters is really a count of blood, so to speak. And as for Alma, well, she can barely stay attuned to this reality, much less be able to deal with a bloodsucker.
Of course, even vampires have families today, which include a son (Sheridan McMichael) who spikes dinner with garlic and a wife (Laurie Cummings) who must rely upon facelifts to appear as youthful as her vampiric paramour when she isn't in an institution.
Further complicating matters is the short visit from Alma's daughter Rose (Danielle Evon Ploeger), whose youth and beauty take Wesley's attention away from our protagonists.
This is a film that sparkles with modern dialogue while calling to mind the cinema of the 70's, particularly ones that set up dark spaces where female characters slowly lose their minds. Most strikingly, one scene borrows liberally from Daughters of Darkness.
