Opiniões dos críticos

It isn't "scary" in the conventional sense, yet it is always thoroughly discomfiting. This is intimately tethered to the film's grounding in a depressed Rust Belt existence, its grubby aesthetic, its end-to-end ambiguity, and our deep identification with a sexually confused serial killer. There _is_ always vanilla at the movies. Thankfully for a spell we were lucky enough to get George A. Romero.

To memorialize the passing of George A. Romero (who died last week at the age of 77), I recently rewatched my favorite film of his, the 1978 vampire story Martin. The movie remains an object lesson in how to make the most of a low budget, but more importantly it's a deeply emotional work, perhaps the most emotional in Romero's career.

This is [Romero's] very Rust Belt take on the vampire movie, which many of my film-crit buddies consider to be his best work. I've always preferred Romero's "social," group-based movies (the Dead films, The Crazies) to his "psychological," single-character-centered ones, though this is easily the most accomplished and fluid example of the latter category. Thematically, it might be Romero's most "underground" film—a direct ancestor to the likes of Joel Potrykus' Buzzard.