Today: July 17, 2024

Prowl DVD

The recent glut of vampire movies has resulted in an
over-saturation for the genre – if it’s not a melodramatic tale of
eternal love, it’s a gory horror about hungry killers, but only the
rarest of exceptions has managed to offer anything remotely original of
late. So, when a new vampire film is released, you have to wonder what
makes it stand out from the hundreds that have gone before it. In the
case of Prowl, the answer is absolutely nothing – it’s a generic,
by-the-books bloodfest that contains little worthy of anyone’s

When a disillusioned Amber (Hope) decides to leave her small-town
existence and move to the big city, she enlists the help of her friends
to take a road trip and find her a new apartment. It’s not long,
however, before their car breaks down and they are left stranded in the
middle of nowhere. That is, of course, until a strange truck driver
stops and offers them a lift. Apparently having never seen any horror
films themselves, they accept.

When the truck driver doesn’t seem willing to stop, the teenagers
start to get worried and search the back of the truck to find hundreds
of boxes filled with blood. Their fears then turn to full-blown panic
when the truck eventually comes to a rest in an abandoned warehouse,
which is filled with a pack of savage vampires who are all being trained
to hunt.

Despite some occasional directorial flair and a mildly impressive,
but ultimately predictable, twist ending, the movie suffers first and
foremost from a lazy script, which plays i-spy with horror clichés and
contains some of the least interesting dialogue ever committed to film.
The simplistic ‘careless hitchhiking’ plotline is the kind of formulaic
storytelling that hasn’t really had a serious place in scary movies
since the 80s, and yet it is played out here with all the po-faced
seriousness of a film that really should be delivering a more enjoyable

Things get more exciting when the vicious, sharp-fanged, blood-soaked
creatures start preying on their human counterparts (despite their
appearance and behaviour taking a clear cue from 30 Days of Night), but
this then leads to the remainder of the film being spent watching gory
near-misses and running girls screaming as each teenager gets despatched
easily and without any real consequence felt.

The main problem is that a lack of back story for any of the
characters means that it is hard to care if any of them actually live or
die. The same cannot be said, however, for our main protagonist Amber
who has spent so much on-screen time bemoaning her lot in life and
generally being utterly cheerless that it’s easier to root for one of
the vampires to just put her out of her misery.

All in all, the film is a forgettable and unfortunately amateurish
effort that offers little in the way of originality; it’s only
contribution to cinema being its help in clogging up DVD stores
everywhere with trashy, uninspiring horror titles.

Alex Moss Editor

Alex Moss’ obsession with film began the moment he witnessed the Alien burst forth from John Hurt’s stomach. It was perhaps ill-advised to witness this aged 6 but much like the beast within Hurt, he became infected by a parasite called ‘Movies’. Rarely away from his computer or a big screen, as he muses on Cinematic Deities, Alex is “more machine now than man. His mind is twisted and evil”. Email:

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