The Lost Boys is a stylish, fun, and surprisingly heartfelt take on the vampire genre.
Joel Schumacher’s The Lost Boys is a film I long avoided—not because of anything it did wrong, but simply due to my own biases. I dismissed it as a mainstream, over-hyped vampire flick favored by the “cool kids,” especially when compared to the lesser-known but brilliant Near Dark, released the same year. Having finally watched The Lost Boys properly (and soberly), I can say with confidence: I was wrong.
With a stacked cast featuring Jason Patric, Corey Haim, Corey Feldman, Kiefer Sutherland, Dianne Wiest, and Jami Gertz, the film is a veritable time capsule of ‘80s Hollywood. Before the Coreys became a tabloid duo, they genuinely brought charm and charisma to their roles—especially Haim as the younger brother Sam, who balances humor and heart.
The story, which I won’t rehash in detail here, revolves around two brothers who move to the fictional Santa Carla, California — “the murder capital of the world” — only to discover that the town has a vampire problem. Jason Patric’s Michael becomes entangled with a seductive group of nightcrawlers led by Kiefer Sutherland’s David. Their dynamic is electric, offering tension, mystery, and a surprising amount of nuance for a film that plays with teen horror tropes.
Despite its R rating, I found The Lost Boys surprisingly tame—less gory or scary than expected. But that doesn’t diminish its impact. It thrives on atmosphere, humor, and style. While its fashion and music are undeniably dated, the humor surprisingly holds up well even in 2025, and the film’s sense of place—this eerie, myth-soaked coastal town—remains a huge part of its charm.
I do have minor gripes. The romantic subplot between Michael and Star (Jami Gertz) feels rushed and underdeveloped. And yet, that’s a small complaint in an otherwise entertaining, tightly-paced film.
What really stood out was how well The Lost Boys builds its world. It’s hard to imagine a modern remake capturing the same vibe—cell phones and social media would shatter the eerie, disconnected feel of Santa Carla. The film exists in a very specific time and place, and that’s part of its power.
After years of unfairly brushing this one aside, I’m happy to say I now get the hype. The Lost Boys is a stylish, fun, and surprisingly heartfelt take on the vampire genre. I still prefer Near Dark, but comparing the two is apples and oranges. This one earned its place in the canon.
4.0 out of 5.0 stars
