A Vampire Movie With a Grindhouse Pulse

MOVIE REVIEWS
Vampires of the Velvet Lounge
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Genre: Horror, Comedy, Thriller
Year Released: 2026
Runtime: 1h 45m
Director(s): Adam Sherman
Writer(s): Adam Sherman
Cast: Mena Suvari, Dichen Lachman, Stephen Dorff, India Eisley, Rosa Salazar, Tom Berenger, Tyrese Gibson
Where to Watch: in select theaters March 20, 2026

RAVING REVIEW: VAMPIRES OF THE VELVET LOUNGE offers viewers a premise that feels built for the modern horror landscape. Vampires have always adapted to whatever era they live through. Sometimes they lurk in castles, sometimes they run nightclubs, and sometimes they slip quietly into the dating scene of modern cities. Adam Sherman’s film leans into that last idea, creating a story where romance apps become the newest hunting ground for a coven of immortal predators.

The film centers on a group of vampires operating out of an absinthe-soaked bar hidden somewhere in the American South. Their routine is simple and efficient. They scroll through dating profiles, lure lonely singles into encounters of seduction, and then feed. For creatures who have existed for centuries, the modern world has simply provided more convenient tools for finding victims. It’s a clever setup that taps into the anxiety of the digital dating culture. Dating apps are already built around strangers meeting strangers. The film pushes that concept to its most extreme. In this world, every match could be fatal, and every hint of flirtation might be the beginning of a bloodbath.

Mena Suvari leads the coven with a performance that balances elegance and menace. Her character carries the aura of someone who has spent a lifetime refining the art of seduction. Suvari understands the tone the film is chasing. She plays the role with confidence and a keen awareness of the film’s dark humor, leaning into the character's theatrical nature without losing the danger beneath it.

Dichen Lachman brings a different level of intensity to the coven dynamic. Her presence adds unpredictability to the group’s hierarchy, making the relationships between the vampires feel slightly unstable. Lachman’s performance helps prevent the coven from becoming a one-note collection of villains. There’s tension within the group, and that tension feeds into the escalating chaos once their routine starts to fall apart.

India Eisley’s role helps anchor the story’s more emotional side. Her character feels caught between fascination and horror as the lines between predator and prey begin to blur. Eisley’s presence adds the vulnerability the film needs, especially as the story leans harder into its darker elements, with a wink and a nod.

Stephen Dorff, Tom Berenger, and Rosa Salazar round out a cast that feels deliberately eclectic. The film thrives on that mix. Everyone approaches the material from a slightly different angle, which keeps the ensemble feeling lively even when the narrative becomes chaotic. The chaos arrives once the vampires start targeting the wrong people. Their victims aren’t just lonely singles. Among the profiles they swipe on are an undercover vampire hunter and a group of reckless partygoers who stumble into the bar’s deadly ecosystem. Suddenly, the coven’s well-practiced hunting routine spirals into something far messier.

Sherman clearly draws inspiration from exploitation horror and grindhouse aesthetics. The film embraces excess rather than restraint. Blood sprays, confrontations escalate quickly, and the entire story carries a slightly delirious energy that feels intentionally over-the-top. It’s not trying to be elegant gothic horror. It’s chasing something louder, stranger, and far more chaotic. That approach works best when the film commits to the absurdity of its premise. The idea of centuries-old vampires navigating dating apps already carries a built-in sense of humor. When the film leans into that absurdity, it becomes genuinely entertaining. The blend of horror and comedy creates moments when the audience is just as likely to laugh as to recoil.

At times, though, the film’s narrative structure struggles to keep pace with its ideas. The concept is strong, but the story occasionally drifts between set pieces without always building a clear sense of momentum. Some scenes feel like they exist purely for spectacle rather than character development. Even so, the film rarely becomes dull. Sherman keeps the tone playful enough that the audience remains engaged even when the story struggles to keep up. There’s a sense that the film knows exactly what kind of midnight-movie vibe it wants to capture.

The Velvet Lounge, bathed in dim lighting and surreal color palettes, feels like a dreamlike pocket of nightlife where danger and decadence blur together. It’s the perfect setting for a story about predators hiding in plain sight. And from a thematic standpoint, the film plays with the idea that modern technology hasn’t changed human nature nearly as much as we might think. Dating apps promise connection, but they also reduce people to judgment and fleeting interactions.

There’s a commentary hiding beneath the film’s chaos. Loneliness drives many of the characters into dangerous situations. The vampires exploit that vulnerability. It’s a twisted reflection of how modern relationships sometimes operate, with superficial connections masking deeper intentions. The film is at its best when it focuses on that mixture of satire and carnage. It’s not aiming to deliver a deeply philosophical horror story. Instead, it offers something closer to a late-night genre ride filled with blood, humor, and a cast clearly enjoying the ridiculousness of the premise. And just enough depth to make you think!

VAMPIRES OF THE VELVET LOUNGE doesn’t pretend to be subtle. It’s messy, flashy, and occasionally chaotic. But there’s an undeniable energy to it, the kind that thrives in packed midnight showings where audiences are ready to embrace something a little wild. In a genre that often repeats the same formulas, Sherman’s film tries something different. Vampires have always adapted to their surroundings. Here, they’ve simply discovered the most efficient way to find their next victim. All it takes is a swipe.

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[photo courtesy of STRAND RELEASING, ADAM SHERMAN FILM, STORYOSCOPIC FILMS]

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