While some engaging and entertaining visual effects and cinematography may save Dampyr from oblivion, not even its experienced cast can rescue the poor screenplay in Chemello’s messy picture, which sets itself up for sequels I doubt will ever come. Dampyr is now streaming on Netflix.
Based on the popular Italian comic book series, Riccardo Chemello’s vampire flick Dampyr had a limited European release in 2022; however, it has only recently arrived on streaming services in many countries, which is surprising given its cast, including David Morrissey, Sebastian Croft, Frida Gustavsson, Wade Briggs and Stuart Martin. Some would say that points to problems in its distribution; others might say its delay was a post-pandemic blip. However, in truth, it’s because, apart from some solid effects and action, Dampyr lacks bite.
For all its potential, Chemello’s film never rises above the hammy screenplay or the equally hammy performances (yes, David Morrissey, I’m talking to you!). The screenplay is disjointed, and the story bounces around more freely than a rubber ball on a steep set of descending stairs. That’s not to say there aren’t glimmers of hope, but they evaporate faster than a vampire on a sun lounger in the height of summer.
Dampyr takes a wrong turn as soon as it leaves the starting block. The opening, set in the 1800s, shows three haggard midwives attending a woman in labour. However, as the woman bleeds out, the attention of the midwives is divided between ensuring the survival of the baby and the imminent arrival of a dangerous man riding fast through the forest, a beast in man’s clothing who intends to kill the baby before it even opens its eyes.
As he nears the cottage, one of the midwives casts a protective spell that the vampire lord cannot penetrate, and the baby is saved and pronounced a Dampyr (the offspring of a human woman and a vampire who can kill vampires). The opening is all very Marvel in structure and tone, with a sprinkling of Francis Ford Coppola’s Dracula (1992) for good measure.
We then jump forward to 1992 and the horrors of the Balkans war, where we meet a group of soldiers led by Commander Kurjak (Stuart Martin) as they arrive in a small town where everyone has been slaughtered. The soldiers initially think the murders of the townsfolk were at the hands of opposing forces, but it soon becomes clear something much stranger has occurred, as the bodies are drained of blood.
Meanwhile, not far away, baby Dampyr, last seen in the opening scenes circa 1800, is now a man named Harlan Draka (Wade Briggs) who travels from village to village with his manager and friend Yuri (Sebastian Croft), fleecing locals of their money as he pretends to be a vampire killer. Why Harlan and Yuri have an American accent is never explained, nor is the origin of their friendship and partnership. Equally puzzling is the time gap; where has Harlan been? What has he seen? Why can’t he remember anything? So many questions and so little room in the screenplay for any answers!
To cut a long story short, Harlan and Yuri are taken by Commander Kurjak’s troops, who believe vampires are at work in the town where they are based. As they arrive in the town, it’s not long before Harlan is attacked by Tesla (Frida Gustavsson), a fiery female vampire. Tesla quickly realises that Harlan is a Dampyr, even though some of her mates don’t, and swiftly fry upon touching Harlan’s blood.
Of course, Harlan still isn’t sure what’s going on, but it’s clear he has a power that has lain dormant inside him. Tesla tells Harlan that she is controlled by the all-powerful Gorka (David Morrissey), who looks like he spent the night in the mosh pit of a heavy metal concert. Anyway, Gorka takes Yuri and Commander Kurjak’s men, leading to an unlikely partnership among Kurjak, Harlan, and Tesla, who find themselves on a mission to find his lair, demand he release the men, wash his hair, and stop over-acting. But can Harlan harness his powers for the fight of his life? And who, by this point, really cares?
While some engaging and entertaining visual effects and cinematography may save Dampyr from oblivion, not even its experienced cast can rescue the poor screenplay in Chemello’s messy picture, which sets itself up for sequels I doubt will ever come. Disjointed, poorly written, and confused about what kind of movie it wants to be, Dampyr is best placed back in its coffin for a long sleep before anyone tries to resurrect it.
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