When Thirst Traps Become Bloodthirsty

Read Time:5 Minute, 43 Second

MOVIE REVIEW
OnlyFangs
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Genre: Horror, Comedy
Year Released: 2025
Runtime: 2h
Director(s): Angelica De Alba, Paul Ragsdale
Writer(s): Paul Ragsdale
Cast: Kansas Bowling, Drew Marvick, Nina Lanee Kent, Jessa Jupiter Flux, Ellie Church, Adriana Uchishiba
Where to Watch: available now, check @onlyfangs_movie or @a_p_films on Instagram for more information

RAVING REVIEW: ONLYFANGS takes a familiar indie horror setup and pushes it into a more absurd and modern direction. Before diving further, a quick transparency note: I contributed to the film’s crowdfunding campaign and am credited as an Associate Producer. Even so, this review reflects my genuine, unbiased reaction to the film — and those two things can coexist. Supporting art doesn’t mean abandoning honesty, especially in horror, where sincerity is valued almost as much as bloodshed.

The premise is pure chaos in the best way: a wannabe monster hunter, Wes (Drew Marvick), crosses paths with a group of seductive, unapologetically lethal vampire women looking to modernize their feeding strategies. Instead of lurking in alleys, they’re ready to monetize their nightlife with a subscription-style app that turns victims into customers. It’s a premise that nods to both the gig economy and the way intimacy — whether real or performative — has become a commodity in online culture. The humor lands because the film knows exactly what it’s riffing on.

Kansas Bowling plays Reese, a newly recruited vampire whose performance immediately stands out. She brings a playful, slightly awkward charm that keeps the movie emotionally grounded, even as chaos swirls around her. Bowling has a knack for being funny without winking at the camera, and her performance adds a human edge to a character who’s not technically human anymore. Nina Lanee Kent and Adriana Uchishiba round out the core group of bloodsucking entrepreneurs, each bringing their own flavor of vampiric attitude.

De Alba and Ragsdale have established a recognizable aesthetic throughout their filmography — featuring neon-drenched bars, playful sexuality, and a clear affection for late-night cult cinema. ONLYFANGS embraces that style while also stretching its reach. The result is a film that wants to evoke THE LOST BOYS and FRIGHT NIGHT in one breath while making jokes about influencer branding in the next. Those influences enhance rather than overshadow the filmmakers’ voices.

The film knows exactly where its strengths lie: charming performances, practical gore, and a tone that remains proudly tongue-in-cheek. The cast is having a blast, and that enthusiasm is infectious. When the vampires strut through scenes with menace or erupt into frantic feeding frenzies, the film hits its stride. You can feel the joy of making a horror movie with friends — and that energy often translates directly into fun for the viewer.

At a full two hours, the pacing struggles at times. Part of the film's crowd-sourcing bites it in the neck. There’s a clear push to include remote-shot performances from actors located in different cities. This was a perk on Indiegogo, so it definitely played out as a double-edged sword! While understandable, these segments can disrupt the flow and make the narrative feel overextended. That said, there’s something admirable in tying together multiple shooting locations, turning constraints into a hybrid storytelling style. It’s a reminder that indie filmmaking is built on compromise and ingenuity — and films like this thrive on both.

Drew Marvick remains a welcome presence in low-budget horror comedies. His knack for self-aware humor and chaotic sincerity gives the movie a character to latch onto when the story goes off the rails — which it does, often by design. Jessa Jupiter Flux brings swagger and comic timing that stand out whenever she hits the screen. Ellie Church, as a congresswoman with unexpected supernatural entanglements, adds a twist that helps the third act regain momentum.

As with many vampire comedies, the film plays with the seductive mythology of the genre. There’s sexuality here, but the film doesn’t entirely lean into exploitation. The nudity is brief and inconsistent with expectations for a story marketed as a mash-up of OnlyFans and horror, which might frustrate viewers who come in expecting a specific flavor of midnight-movie sleaze. But there’s also something refreshing about the film choosing to emphasize comedy, gore, and personality over relying solely on erotic shock value.

The effects team deserves real praise. The gore, even when intentionally exaggerated, keeps the action tactile. The blood flows in satisfying quantities, and the kills balance between messy fun and practical creativity. ONLYFANGS is at its best when it remembers it’s a comedy first. The satire of startup culture — hustle until you die, and then hustle more — lands well. The idea of vampires monetizing the hunt rather than hiding from it feels both ridiculous and surprisingly reflective of where online life has led us. You don’t need to lurk in crypts when you can swipe right for your next meal.

There is a genuinely fun film here: playful, trashy in all the right moments, and proudly rooted in the indie horror ecosystem that thrives on bold, unconventional choices. It’s a movie made by people who love this genre enough to poke at it, and that love carries even when the execution isn’t perfect. There’s room to grow, but there’s also plenty to celebrate. ONLYFANGS might not reinvent bloodsucking cinema, but it throws a party in its honor — one with laughs, guts, personality, and a self-awareness that proudly says: horror should be fun.

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[photo courtesy of A & P PRODUCTIONS]

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