The Lost Boys

That the film works so well is a testament to Schumacher’s pop sensibilities, his slick production design and an iconic soundtrack — Echo & the Bunnymen’s version of People Are Strange is a majestic way to begin a movie.

The Lost Boys, in its artless way, asks us to consider that being for ever young isn't a sweet Edwardian evocation of innocence, but a vision of pure hell, like vampirism.

Schumacher falls far short of the talent for pop wit that Joe Dante showed in Gremlins and The Howling.

The Lost Boys, which attempts to be funny while preserving the shock value of the vampire legend, aims somewhat higher... and misses.

It's often sloppy and thinly plotted, but this is, after all, a summer movie, and if it's nothing to really sink your fangs into, it's often very funny.

There's always room for fancy trash, and this movie -- about a gang of punk vampires terrorizing the new kids in town -- seems capable of providing some. Then the characters open their mouths.

While the cast is fun, Schumacher is predictably at his best when The Lost Boys is a vibe check, aestheticizing vampires into an ’80s fashion ideal as they race their motorcycles down the beach, power ballads wailing into the night.

A story that starts with promise, is peppered with strong performances (especially from Kiefer Sutherland), and seems to be going somewhere devolves into a formulaic disappointment.

This Joel Schumacher-directed picture is so devoid of surprises, authentic thrills, and effective comedy that it’s essentially just a pitifully cobbled-together bore.

It's witty, sharp and outright hilarious, with fantastic performances and a glossy and cool take on vampire mythology.