Released in 1998, Blade is a curious film at its heart. In some ways, it feels almost like a prototype for the tone of the Marvel Cinematic Universe. In others, it couldn't feel more different. It feels like something of a missing link between the periods and during the MCU.
The film takes something of a light approach to the source material, which would go on to define such big Marvel cinematic hits such as Iron Man and Captain America: The First Avenger. It's a movie that doesn't take itself too seriously, with the occasional quip or two delivered by Wesley Snipes, as the titular Blade. Wesley Snipes' take on Blade is somebody who you could easily picture fighting alongside Thor or the Hulk without feeling too out of place, and it's something that you would imagine Marvel Studios must be at least considering as a part of the multiverse shenanigans due to be introduced in Spider-Man: No Way Home.
Although Kevin Feige would certainly squirm at the level of graphic violence displayed here. I thought AMC's 'The Terror' was bad, but this is gore turned up to the max, with everything from sprinklers pouring out blood in a night club to lead vampire villain Frost (Stephen Dorff) sliced in half with a sword, only for his body to grow itself back together. It makes for some truly striking images, and helps to sell just how cutthroat the vampire underworld is. The vampires mean business, and that means Blade means business.
Speaking of Blade, Wesley Snipes was clearly born to play that role. He is perfectly cast as the vampire killer who is also half vampire himself, conveying an intimidating screen presence that shows this is a guy not to be messed with. He's tough, gung-ho and someone who scares the vampires witless. Wesley Snipes' Blade is the very definition of a badass, and the MCU's casting Mahershala Ali has got some very big shoes to fill.
The twist regarding Blade's mother (played by Sanaa Lathan) has to be one of the greatest I have ever seen in any film to date. I did not for one minute suspect that Blade's mother was still alive, as it seemed fairly concrete that she was dead, but to have her turn up and reveal herself to be allied with Frost was one hell of a plot reveal. Especially as it provides some interesting mother and son conflict, with both characters being on opposite sides of the coin, and offers a mirror to what Blade could have become had he given in to his vampire side.
I am not such a fan of Frost. As a whole he feels too generic as a villain, one who follows the kind of narrative tropes we have seen a dozen time. He's trying to fulfil a prophecy, he wants to awaken the power of a spiritual God and he wants to turn everyone simultaneously into being like him. Of course, the 'Chosen One' also turns out to be Blade, and he wants to keep him alive because he needs him for his plans. It's essentially villain 101, and again directly emulates the MCU, which also struggled with its own villain problem in its initial films.
Blade's sidekick Karen (N'Bushe Wright) is a more impressive aspect of the story. Karen is not only likeable and endearing, but she's also a sidekick who feels like she's of use to the protagonist. Her medical skills, for instance, come in very handy in trying to find new ways to interfere with the vampires' blood streams in order to best eliminate them, and her work on a cure for Blade offers an interesting insight into what drives him to fight these creatures that plague the world of the story. Does he do it out of vengeance for what they made him, or because he knows that somebody has to stop them and he's the only one who can? Of course, he turns down the chance to be cured because the 'war' against the vampires is still ongoing, but it's a really great part of the narrative from a character point of view.
I really wasn't ready for Whistler (Kris Kristofferson) to die though. His death is such a tragic way for him to go, essentially committing suicide because he is too far gone after being attacked by the vampires in order to survive and not turn into one himself. It shows just how devastating life as a vampire is, and how much of a threat it poses for those you care about, that it's better to kill yourself than to allow it to consume you, and the fact that it happens to this man who acted as a mentor to Blade for years off-screen makes it all the more sad.
Overall, Blade is perhaps one of the bloodiest and most satisfying superhero films of them all. Featuring some shocking imagery, a lead who totally dominates the screen and a truly unexpected twist, Blade is a film that you would be foolish to avoid forever. Its only downfall is one that also plagued the MCU in its early days, which is testament to just how strong this opening film in the Blade franchise really is.
Greetings, packmates and lone adventurers! Kiba Snowpaw here, your trusty ice wolf from the frosty world of HowlStrom. Today, let's howl about a film that slices through the ordinary like a sharp claw through snow - "Blade" from 1998. This isn't just any flick; it's a thrilling ride into the world of vampires and the lone hero who battles them.
"Blade" is all about this vampire-hunting superhero, Blade himself, played by Wesley Snipes. He's half-human, half-vampire, which is like being part wolf, part... well, something else equally fierce. Blade is on a mission to rid the world of vampires, especially the big bad, Deacon Frost, who’s trying to unleash a vampire apocalypse. It's a dark, gritty battle set in the shadows of the city, kind of like prowling the forests of HowlStrom at night.
This movie is a wild ride from start to finish. It mixes horror, action, and a bit of comic book style into one thrilling package. It's like a midnight hunt - fast, ferocious, and full of surprises. The action scenes are as sharp and polished as an icicle in the winter sun.
Blade is a total alpha - tough, cool, and with a mysterious edge. Wesley Snipes brings him to life with a mix of intensity and charisma that's as rare as a flower in HowlStrom’s eternal winter. Then there’s Deacon Frost, the villain you love to hate. He's slick, cunning, and dangerous, like a rogue wolf with a cunning plan.
The movie's pace is relentless, like a blizzard that never lets up. It moves swiftly from one action-packed scene to another, keeping you on the edge of your seat. The plot weaves through twists and turns, revealing the dark world Blade inhabits, much like discovering hidden paths beneath the snow.
"Blade" was a game-changer in its time. It brought the vampire genre into the modern era with a fresh, edgy take. It's like that legendary hunt in wolf lore that everyone still talks about years later. The film also paved the way for more superhero movies that followed, showing that comic book stories could be dark, stylish, and seriously cool.
The hook of this film is its unique blend of horror and superhero action. It's not your typical caped crusader tale; it's darker, deeper, and has a bite, just like the thrill of hunting under the full moon.
"Blade" deserves a howl of praise for its groundbreaking approach and Snipes' performance. If there’s a critique, it's that some of the special effects haven't aged as well as the rest of the film, but that's just nitpicking. It’s still a visual feast, like the northern lights over HowlStrom.
For anyone who loves a good mix of horror, action, and a dark hero, "Blade" is a must-watch. It’s a film that stands out from the pack, much like a lone wolf who walks a different path.
In the world of vampire movies, "Blade" is like the tough, mysterious outsider compared to the more traditional vampire tales. It’s darker and edgier than most, like "Bram Stoker's Dracula," but with a modern, action-packed twist.
In conclusion, "Blade" is a classic that's still as sharp and exciting as it was when it first came out. It's a reminder of how some films, like legends in the wolf world, stand the test of time. So, if you’re in the mood for a movie that's a cut above the rest, give "Blade" a watch.
That’s it from me, Kiba Snowpaw. Until next time, keep your fur warm and your spirits wild. And remember, even a lone ice wolf can appreciate a good vampire hunt on screen! :wolf::crescent_moon::sparkles::vampire:♂:dagger_knife:
THE GOOD: ‘BLADE (1998)’
WRITING: 65
ACTING: 75
LOOK: 70
SOUND: 60
FEEL: 80
NOVELTY: 90
ENJOYMENT: 80
RE-WATCHABILITY: 75
INTRIGUE: 70
EXPECTATIONS: 80
THE GOOD:
The action sequences are fast-paced and bad-ass, mixing practical and visual effects seamlessly and bringing the clumsy action sequences of some later superhero films (X-Men from 2000 and to an extent the first Raimi Spider-Man) to shame.
Wesley Snipes was the black superhero before Chadwick Boseman came along and he personifies the fascinating character of Blade so well that Mahershala Ali will have a tough time to reach that same level.
What I love about this film in particular, and Blade in general is that he is somewhat of an anti-hero, focusing his efforts on slaying vampires rather than fighting big cosmic threats (or the like), thus pitting him against both monster and law enforcers. It makes the film constantly tense and heart-pumping, securing a near uninterrupted thrill ride.
Blade has no real moral code, so it’s pretty fun seeing him throw people and vampires alike around just for the fun of it.
Director Stephen Norrington brings a dark, mature and serious tone to the film, which is only befitting for the character and his background. Even the more bizarre and admittedly comic book-y elements are handled with devotion.
I cannot stress this enough, but every single action sequence is a gem and beats most action sequences from superhero movies released before the current MCU and DCEU era.
The script spends a lot of time with the vampires, which helps the audience understand them better. There are also quieter character moments among Blade’s crew, even if they remain minimalistic.
Kris Kristofferson is one of the most memorably weird but outrageously loyal sidekicks in any comic book movie and I love him. He has a great rapport with Snipes.
Frost makes for a wonderfully crazy, over-the-top and psychopathic villain, played to perfection by Stephen Dorff. He is memorable without being overly comic book-y.
THE BAD:
There’s not much of a plot, aside from a very typical one. There are attempts at depth when it comes to the vampires, but those feel tacked on and most characters remain shallow.
The climax feels perhaps a bit too ambitious, trying to pull too many strings at the same time, even if I admire how well it has stood the test of time.
The FX budget had probably been spent on the preceding action sequences because the CGI effects in the final action scene are horrible.
THE UGLY:
Can you believe it, Blade did an awesome (almost) bullet time sequence one year before The Matrix made it famous?
THE VERDICT:
Marvel’s first successful comic book movie is a fun mix of the typically 90s, the boldly dark and the distinctively cool brought forward by its iconic star.
75% = :white_check_mark: = GOOD
Review by Andrew BloomVIP 9BlockedParentSpoilers2022-10-29T05:43:27Z
[8.0/10] Style counts for a lot. Blade doesn’t have the greatest plot or the most nuanced performances. But it is impossibly cool. The black leather, the washed out industrial aesthetic, the heroin chic look that was de rigueur at the time, the buckets of bullets from supercharged weapons, the badass fight choreography, the dark sunglasses, and the other trappings of 1990s R-rated genre films may have reached their apotheosis here.
The movie is cinematic candy, built to thrill and entertain and captivate. In that it succeeds. From the opening moment where the titular vampire hunter slays his way through a blood-sucking rave, to the close vignette where he prepares to stop another such shindig in Moscow, and all the staking, slashing, and blood-drenched combat in between, Blade is made of the kind of in-your-face cool that appealed to teenagers with youthful power fantasies of being a dark avenger.
The story, penned by David S. Goyer, is mostly empty calories. Blade wants to kill the vampires that threaten the world. The villain wants to resurrect the vampiric “blood god” who will wipe out humanity. And, in turn, Blade wants to stop the bad guy. Along for the ride are some of the usual figures, like a mentor for the hero, a lieutenant for the antagonist, and love interests for both who inevitably throw down. But at base, the narrative provides a foundation from which the creative time can deluge the audience in kickass set pieces, impressive effects, and oodles and oodles of cool as hell vibes.
That said, the script does have a little something going on under the hood. Pulling its premise from the Marvel Comics, the central premise of Blade as a “daywalker” -- uniquely situated with all of a vampire’s powers but none of their weaknesses due to being born of a mother who’d just been bitten -- gives the character some inherent intrigue. His search for the vampire who killed his mother provides him with a crusade. His thirst for blood that he resists through any means necessary gives him a cost and a curse for all his abilities. And his foot in two worlds makes him a plausible “chosen one”, both the key to unleashing “La Magra” and the champion with the talents to stop it.
The main baddie of the picture, Deacon Frost, does have an intriguing motivation. Played with extraverted verve by Stephen Dorff, Frost is a human who was turned, not a natural born vampire, something that limits him to a lower caste relative the vampiric council. He’s a shit, and a bastion of selfish cruelty at that, but the chip on his shoulder, and his desire to attain enough power to truly be “the top of the food chain” is well-justified given the psychology on display.
Even the other major characters have shading or performances that liven them up beyond the basics of the shoot-em-up plotting. It’s a little convenient that Blade shows some sympathy to a bite victim who just so happens to be a hematologist. But despite being a love interest, Dr. Jenson isn’t reduced to that. She has a self-possessed quality and capabilities that allow her to hold her own in overmatched fights, come up with the decoagulant that helps the hero explode some vamps, and even willingly give up her own blood to stop the villain from ascending unopposed.
Throw in Kris Kristopherson injecting all kinds of grizzled vet energy into Whistler, Blade’s handler, and Donal Logue being annoying, but memorably so, as Frost’s second, and the cast of characters fills out despite the lack of real depth or layers for any of the main players. Hell, even the goons and henchmen who are mostly living props at least have cool costumes or the film’s over-the-top vibe to keep the audience’s attention.
Along those lines, it’s striking just how much in common Blade has with The Matrix, which came out just one year later. The aesthetics of both the setting and the film are remarkably of a piece, and the music and fight scenes are similar as well. Beyond that though, both feature a unique chosen one who storms the villain’s stronghold, a hidden world of cloak and dagger conspiracies beneath the one we know, and a mentor figure showing a newbie how deep the rabbit hole goes. I don’t think there’s any copying at play -- these elements were just in the ether around this time and can be seen in other films within the subgenre -- but the alignment is uncanny.
Blade shares a panoply of neat effects with The Matrix as well. While some of the CGI elements, like Magra-fied Frost’s blood appendages or the skeletal vampire spirits look a bit dated, the overall imaginative designs of these elements makes any age forgivable. The pustulated look of the blood-thinner bombed vampires, or a morbidly obese demon, or a precursor to Neo’s bullet time in the Chinatown stand-off between Blade and Deacon grab your attention and don’t let go. The production design team goes above and beyond here, mixing the clean yet dark-tinged aesthetic that was all the rage in 1998 with some traditional gothic imagery and monsters that leaves the look and feel of the film as memorable as anything in the story.
So do those superlative action sequences. Blade does feature some quick cuts, but not so many that they make it impossible to track the action. Every skirmish turns high octane in a second and gets the blood pumping in turn. Wesley Snipes doesn’t convey a tremendous inner life for the titular crusader, but he’s nonetheless perfect for the part. Taciturn, even-keeled, tired of the shit but raring to keep fighting, he is magnetic on the screen, cutting the figure of mankind’s only hope to stave off the evil that lurks in dark corners. His action hero bona fides were never at a higher ebb than this, and he, as much as anyone, imbues this film with that ineffable air of coolness that makes you pump your fist with each demon he takes down.
What more can you ask for from a flick like this? Occasionally Blade goes overboard with its plot points. It’s too much and too neat for Blade to find his mother still alive, and learn that Frost turned her (not to mention the weird Oedipal business in play). The bad guy ostensibly dealing Whistler a mortal blow to give Blade extra motivation to take him down is a clunky trope. And while it’s a feature, not a bug, for each new vampire story to come up with its own spin on the traditional lore, Frost being able to get by in the daylight with sunscreen alone seems like a cheat.
Still, those nitpicks aside, Blade delivers what it promises -- a thrilling, sanguinated action movie/horror flick that practically drips with the style and gothic flair that make it memorable long after the credits roll. The imagery, aesthetic, and overall vibe of the piece are more than enough to sustain it, and despite featuring a daywalker, playing around in the dark has rarely been this fun, or this unimaginably cool.