The Curse That Started It All

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MOVIE REVIEW
Ambrogio: The First Vampire
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Genre: Action, Drama, Horror
Year Released: 2025
Runtime: 1h 14m
Director(s): Alex Javo
Writer(s): Alex Javo, Taz Lake, Johnny Ray Jr., Matthew Tangeman
Cast: Simon Shih, Whitney Lavaux, Ford Nelson, Alex Javo, Angelina Buzzelli, Caylin Sams, Tony Ohara, Mitch Lemos, Cody Curtis, James B. Potts, Aidan Thomas Moua, Niko'a Salas, Gianlucca Gazzo, T'Lasia Smaw, Kat Carter, Zane Pappas
Where to Watch: Available to rent or buy at www.amazon.com

RAVING REVIEW: When an indie filmmaker decides to reshape a vampire origin story that barely has roots in actual folklore, you can bet the results will stir up opinions. AMBROGIO: THE FIRST VAMPIRE aims to be bold, pulling from an internet-born tale that most would never guess wasn’t an ancient legend. By turning a digital-age myth into a feature-length film, writer-director-star Alex Javo attempts to give old-school vampire cinema a foundation with gods, curses, and a cursed love that spans eras. It's a film with ambitious ideas and uneven execution, but one that reflects the enthusiasm of its creators.

Rather than follow the usual vampire clichés, AMBROGIO: THE FIRST VAMPIRE throws its title character into Roman times. Ambrogio is reimagined as a soldier sent to Greece under the orders of Consul Marcus Brutus. The time-stamped setup feels grounded in history—on paper. However, it quickly runs into a curious choice: Ambrogio speaks in Italian with a modern accent. Not Latin, not even Greek. The film never fully explains this creative liberty, and while it’s easy to forgive on a small indie project, it’s the kind of detail that could have been used to flesh out the immortality theme.

That’s not the only place where mythology gets a remix. In this version, Ambrogio falls hard for Selene, which provokes Apollo's envy. After cursing Ambrogio with eternal darkness, Apollo sets off a chain of events that involves deals with Hades, training from Artemis, and a slow transformation that drifts from survival to the taste for human blood. This background isn’t told linearly—instead, it's pieced together through flashbacks and narration from Sarah Apollo, a student who might be more connected to this story than she realizes.

Sarah, played by Angelina Buzzelli, is the film's emotional anchor. Trapped in a dangerous and abusive relationship, her academic work ends up leading her to the path of Ambrogio himself. When she sees him walking during the day, thanks to a ring he’s stolen from Apollo, she begins piecing together who—or what—he is. The echoes of reincarnation, heavily implied throughout the story, land slightly off, but they fit the film’s myth-driven tone.

The real shift in energy comes with the appearance of Count Dracula, played by Niko'a Salas. He’s a familiar figure for vampire movie fans, but here he’s given a new angle—created by Ambrogio himself and left for dead, only to be revived by Hades for revenge. Unfortunately, the mystery surrounding Dracula's early scenes doesn’t last long enough to build tension. The reveal comes sooner than it should, and while Salas leans into the theatricality of the character, the accent work makes it harder to take him seriously as a threat. There’s an intentional contrast between Dracula’s chaotic hunger and Ambrogio’s existence, but it never quite sticks the landing.

Visually, AMBROGIO: THE FIRST VAMPIRE has moments that suggest a darker, moodier atmosphere, especially in interior shots. But the lighting often plays it too safe. A more stylized approach—especially in scenes set in Ambrogio’s home—could have reinforced the story’s gothic influences. High-contrast setups used strategically would’ve helped distinguish the film from other low-budget efforts in the genre. The production design is effective given the scale, but the cinematography doesn’t push the visuals far enough to complement the otherworldly aspects of the script.

Tonally, the film wavers between horror and romance without fully committing to either. One moment plays like a dreamy supernatural love story, while the next tries to deliver suspense or psychological intensity. This indecisiveness creates a tonal disconnect. Scenes of domestic violence are handled with seriousness, but they sit awkwardly next to lighter or more fantastical sequences. A more consistent emotional throughline—perhaps leaning into the tragedy of Ambrogio’s immortality or the trauma of Sarah’s entrapment—might have brought the story’s themes into sharper focus.

Where AMBROGIO: THE FIRST VAMPIRE does show promise is in its ambition. Javo doesn’t just star—he directs, co-writes, and cares about pushing something original to the screen. The passion shows, especially in the more dramatic aspects. Mitch Lemos as Hades brings a charismatic presence to every scene he’s in, and even when the dialogue falters, there’s a sense that everyone involved is giving it their all. It's hard not to root for a project that swings this hard for something unique.

There’s potential in reimagining vampire lore through the lens of ancient myth, but that promise gets buried under uneven dialogue, pacing that feels rushed despite the short runtime, and genre tones that don’t always mix well. If Javo returns to this world with a follow-up, it might benefit from leaning harder into the horror or romantic tragedy rather than splitting the difference.

AMBROGIO: THE FIRST VAMPIRE has the bones of a much larger story. With refinement, a stronger visual identity, and more confident character development, it could evolve into something genuinely memorable. As it stands, it’s a creative spark looking for a steadier flame. Fans of myth-heavy storytelling might appreciate the swing, even if not every moment connects.

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[photo courtesy of JAVONAKIS FILMS]

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