SICILIAN VAMPIRE (2015) Reviews and overview

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‘Loyalty and trust is everything’
Sicilian Vampire is a 2015 Canadian crime horror film written, directed by and starring Frank D’Angelo. The movie also stars James Caan, Daryl Hannah, Paul Sorvino, Robert Loggia, Armand Assante, Robert Davi, Michael Paré, Eric Roberts, Daniel Baldwin, Tony Nardi and Art Hindle.

Plot synopsis:
Santino “Sonny” Trafficante, a reputed mobster, is bitten by a bat and turned into a vampire while at his hunting lodge. With his new abilities, Trafficante feels the need to right the wrongs in his life, while simultaneously trying to protect his loved ones…

With an $11.3 million production budget, Sicilian Vampire is D’Angelo’s highest-budgeted film to date. His three previous directorial efforts had budgets of “at least” $3.7 million, with actors being “paid in cash”. The majority of Sicilian Vampire’s budget went into securing high-profile actors; in particular, James Caan and Paul Sorvino. Other aspects of the budget went into paying for 6K resolution cameras.

“Both the vampire angle and the mob war plot disappear for long stretches, and the film’s ultimate message – “Family is the most important thing in a man’s life” – feels arbitrary. D’Angelo seems to have unwisely attempted what Quentin Tarantino calls a “hang-out movie,” because Sicilian Vampire is packed with endless, shapeless scenes of mobsters sitting around tables, cracking jokes.” The Globe and Mail

“The volatile confrontations that stem from the film’s centre stage machismo feel unprovoked with loose tempers running wild for no good reason, but it’s always a pleasure to see these actors flip on their own levels of intimidation. Even if the material lacks momentum, it’s easy to get wrapped up in this reunion.” Wylie Writes

“Ostensible plot aside, much of the film consists of Sonny and his friends sitting around busting each other’s balls, telling terrible jokes, or threatening each other in Italian. Because D’Angelo prefers to throw out the screenplay and riff on-screen, the rhythm of these scenes is mumbly and inchoate, and Caan falls right into the anti-groove.” Vanity Fair

James Caan and Frank D’Angelo


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