billcr12 The writer-director was obviously heavily influenced by the Swedish film Let the Right One In. The story is reversed this time around with a boy as vampire and girl as best friend. The girl seems much more mature and years older than the boy. The Swedish movie is far superior to this one. The kids are fine but the boy sleepwalks through the film. I would recommend the Swedish import and even the American remake with Chloe Grace Moretz. It is one of the few remakes that actually works. The Transfiguration is a pale imitation.

captainblarg OK yeah, this isn't a vampire movie. I just wanna clarify that one can, and should, ignore the title graphics showing the main character casting a Nosferatu shadow.With that out of the way, this isn't a bad film by any means. There's pathos, and some humor here and there. It calls strongly upon the reality-sucks school, which isn't among the styles of filmmaking that I enjoy a lot, but if you're into that then do see this. The actors have done a great job, and I think this movie is every bit as deserving as certain other "cult" classics, if not more so. I gave this one -1 for the reason that I probably wouldn't watch it again, however I'd recommend it to anybody who likes a slightly more intellectual film experience. I watched it around the same time I was re-visiting the series Dracula from 1991, and I mean... sun and moon, night and day. If your brain needs a rest real bad, check out the Final Destination franchise, for example, and skip Transfiguration.

Horst in Translation ([email protected]) "The Transfiguration" is an American 95-minute movie from 2016 and the first full feature film by writer and director Michael O'Shea. The cast does not really include any well-known actors. Actually you could argue if the title of my review is correct as vampirism is a crucial component from start to finish and many known vampire films are referenced from start to finish including the excellent Twilight, Let the Right One In etc. in here, but there are no vampires in the supernatural sense. Actually, the vampire-addicted protagonist felt more of a zombie at times because I kinda felt that he was basically sleepwalking his film through the film, but that's not a negative deal-breaker either as the film still works for the most part. Yes it is somewhat bleak and extremely slow and you probably could have fit it in an hour too, but the atmospheric take and character study of two young people struggling makes more than up for it. That's also why I am a bit surprised about the ending O'Shea picked as honestly it did not feel too authentic to me with the desired suicide explanation and it also really went strongly against everything before that when it comes to the tone of the film. Yes it does include a bit of a real life reference that pulls the boy harshly out of his vampire reality and there the boy's intentions hurt the film at all. A bit of a pity. I am not angry because the central character was killed as I honestly cared very little about him anyway, I am instead angry, well a bit, that they did not go for simpler, more harmonic closure, maybe a moment of harmony and peace or even for the boy living his fantasy with killing and drinking a girl. Almost everything could have been better than what they actually went with. Oh well. It is what it is. Thanks to several good moments and a decent story overall, I still give the film a thumbs-up. Go see it if you like vampire-themed films. There really aren't that many anymore these days.

JvH48 Seen at he IMAGINE film festival 2017 in Amsterdam. The story flows all the time and keeps your interest, but overall the dramatic developments are minimal, and the atmosphere embedding the two main topics, violence and social commentary, does not provide for anything new that we haven't seen already in many other movies.The only novel element is that Milo is a vampire, this time not someone who has to avoid daylight, and he also does not sleep in a coffin. Milo lives a more or less normal life with his older brother, who has apparently nothing more to do than watching TV all day long. Milo marks days on a calendar that he has to go "hunting". We saw a handwritten book with rules of engagement, e.g. that the victim must come instead of chasing him, but that was only a small fragment of a heavy stack of paper. We also see him several times bite randomly chosen victims, after which he is always somewhat nauseas, seemingly inherent in the process. How he became a vampire, is left in the dark (no pun intended), and what we see of his brother does suggest that is not something that runs in the family.We see less of Sophie, not even her house from the inside, when she e.g. lets Milo wait for her door when she has to pick up something, very different from her having access to Milo's house and even stays in his room for a few days. Not clear what it all means, if anything. Both walk outside the house like a couple, e.g. holding hands, but there is no sex involved as far as we see, despite of sleeping in the same bed and kissing each other frequently.All in all, if it really was the intention of the film makers to leave us confused, just as confused as both main protagonists are with respect to the world around them, this movie is a success however without a silver lining. It does not make us any wiser through the added elements of social commentary nor does it about violence or NYC's atmosphere, being important topics as suggested by the movie's website but I missed all of it.