I first watched The Lost Boys on my eighteenth birthday, writes Kat from the Rewind Classic Movies Patreon.
I had missed it at the cinema, but it was out on VHS by then, and as a Goth, it felt like the perfect film for me. From the very first viewing I was drawn in.
The film moves effortlessly between ordinary, light-hearted moments and dark, brooding scenes. For example, a seemingly normal moment – Sam singing in the bath while Michael struggles with his bloodlust outside the door – suddenly turns into tense danger. It shows how quickly the story shifts from everyday life to horror, from laughter to chills in a heartbeat.
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The music, atmosphere and story all work together to create a unique and unpredictable energy. The way The Lost Boys balances humour, suspense and danger without ever losing momentum keeps you engaged from start to finish. I have lost count of how many times I have rewatched it, and it never gets stale.
The characters
The Frog Brothers (Corey Feldman and Jamison Newlander) are endlessly entertaining, with their over-the-top vampire-hunting antics, elaborate preparations and surprisingly effective tactics making them the perfect mix of comic relief and genuine heroes.
The vampires themselves are intimidating, particularly David (Kiefer Sutherland). He is beautiful, hypnotic and coercive, able to manipulate those around him with ease. His magnetic, rebellious charm draws people in while maintaining a subtle air of menace – a deliberate contrast to Max, who seems gentle and calm and keeps you guessing until the last moment about his pure evil intent.
The dialogue is clever and funny. Some of the lines and moments in this film are pure gold. There are so many to choose from, but a few of my favourites are:
“Enquiring minds wanna know,”
“My own brother, a goddamn, shit sucking vampire,”
The hilarious “Well, Nanook helped a little,” and of course, the iconic “Death by stereo”.
Each one still makes me grin.
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A missed opportunity
If I had to pick one element that does not fully work for me, it would be the female characters.
Lucy comes across as weak and overly passive. She has clearly been through the wringer in life, which has beaten her down, and I understand why the filmmakers used that trajectory. It is that very vulnerability which attracts Max.
But when he is threatening her children in her own house, that would have been the perfect moment for her to unleash her inner lioness and fight back in a way that matched the film’s fierce energy. Instead she capitulates and is left to be rescued by her father and son. Her on-screen presence lacks the spark of the rest of the cast. It would have been wonderful to see her grow into the resilient, formidable woman she clearly had the potential to be.
And then there is Star (Jami Gertz). Back in the day, we all wanted to be her – floating through the night air with flowing hair and gauzy clothes, the ultimate mysterious dream girl. But watching now, I see her for what she really is: pure window dressing. The obligatory love interest, which I understand, but surely they could have given her more substance. Star is a half-vampire, caught between two worlds, yet she never really gets involved except in the love scene. She could have been such a powerful character – strong, sensual and conflicted – but instead she ends up feeling like a bit of a wet lettuce.
The lack of development of the female characters is a missed opportunity and, for me, a flaw in an otherwise pretty perfect film.
The soundtrack
The soundtrack is flawless. I can still listen to it from start to finish and never tire of it.
Cry Little Sister perfectly captures the film’s dark, dreamy atmosphere, and Echo and the Bunnymen’s cover of People Are Strange adds another layer of moody brilliance.
I love the subtle nods to Jim Morrison and The Doors scattered throughout the film, introducing a wholenew generation, including me, to their music. The soundtrack enhances every scene, adding tension, fun and a sense of danger while making Santa Carla feel like a living, breathing place full of secrets.
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Santa Carla
Santa Carla, the alleged murder capital of the world, feels like a character in its own right – a town dripping with menace and mystery. Every neon-lit corner hides danger, mirroring the uncertainty and excitement of youth. The film captures that restless, rebellious energy of being young, wanting to belong but still stand apart. It speaks directly to outsiders and misfits, which is why I think it speaks to me and has endured with so many of my generation for so long.
And that final scene – Grandpa calmly sipping his root beer as he delivers the iconic line about Santa Carla being full of vampires – is the perfect ending. Sly, ironic and hilarious, it leaves you laughing and slightly unnerved all at once.
It perfectly sums up why The Lost Boys remains a defining S-tier film for me: dark, stylish, funny and utterly unforgettable.
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