The Lost Boys (1987)

While I wouldn’t consider myself to be a huge fan of vampires, I have nothing against the fanged fiends provided the stories within which they’re planted make good use of their lore and inherent traits. I tend to steer away from horror, but I can make exceptions if the story warrants a few scares and it’s not too grotesque or gory. I had heard about this movie for years as it appears to be a cult classic. I confess I only became interested in it thanks to Kiefer Sutherland, whom I loved watching as the iconic Jack Bauer on Fox’s 24 back in the early 2000s. But before he became Bauer, he donned fangs, as do most of the cast in this mashup of dark comedy, horror, and classic 1980s teen cliches. But is this a movie worth sinking one’s teeth into or does it have very little bark in its bite?

The Lost Boys (dir. Joel Schumacher) focuses on brothers Michael (Jason Patric) and Sam (Corey Haim) who move with their single mother to Santa Clara, California to make a fresh start. Beneath the sun-drenched landscape is a dark secret living in the shadows. Scores of people have gone missing or are presumed dead, enough to earn the town its moniker of Murder Capital of the World. Sam’s eyes become open to who is behind this sinister activity – night stalking vampires. But not before Michael meets up with David (Kiefer Sutherland) and his gang of motorcycle-riding, free-spirited rebels. David introduces Michael to a carefree world, but it comes at a terrible price. As Michael contends with the truth about David and his friends, as well as his own disturbing changes, Sam and a vampire-fighting duo must race to stop the vampires. But can Sam defeat the monsters and save his older brother in time?

I was floored by this movie in numerous ways, all of them positive. Seeing as this was a vampire movie, I wasn’t expecting much and was hoping it wouldn’t be too gory. Much to my surprise, story and characters come front and center while the bloodiest moments (though tame for an R-rating) consume the final fifteen to twenty minutes in the movie’s brisk 90 minute running time. The movie uses said time wisely, neither wasting minutes on scenes of no importance nor flying by at a break-neck pace. Costuming, visual style, tone, lighting, and colors are well-used and executed. This is by no means a cinematic masterpiece, as there are moments of cheese that prevent it from rising to too high of heights. However, sometimes cheese is good, and in this case, there are also worthwhile messages beneath the surface if one takes the time to look for and appreciate them.

The Lost Boys is unabashedly a product of the 1980s, from its cinematic choices to playing off of tropes from popular teen and slasher flicks of the era. It uses such cliches without pretense, contributing to its darkly comedic tone. Such tropes include outcasts, characters starting a new life, and teens engaging in supernatural affairs who also are the only ones with the power to stop it. As stated, the story never tries to hide what it’s doing, but such cliches are elevated thanks to their transparency as the movie as a whole serves as a metaphor for the nature of temptation. But it avoids becoming too serious nor does it take itself too seriously. Watching this movie is akin to taking a trip through an amusement park haunted house: it’s unapologetically garish, cheesy, and scary but in a comical way that’s also entertaining.

The Lost Boys is surprisingly nice to look at it in terms of overall composition and the vibe it’s going for, which is campy horror mixed with dark humor. It possesses Schumacher’s bombastic style, especially when it comes to lighting, but it’s tastefully done and displays an underlying sense of restraint. Lights and colors, especially red and white, create an eerie landscape that switches between having nothing to hide beneath bright, cold light and trying to mask the underlying horror of who the Lost Boys are. The story’s world beneath a warm, bright California sun is starkly juxtaposed to its nighttime kaleidoscope of twinkling carnival lights. Shadows and fog are also used to set tone as well as generate a sense of mystery and act to obscure characters and viewers’ visions, both literally and metaphorically.

Another standout element in this movie is its soundtrack, which is pure 1980s rock. Again, I was surprised because this movie displays a tactful knowledge of when and how to use music.  It provides a mix of both light and dark, bright and cheery tracks underscored by darker, shadowy music, striking a good balance while creating auditory contrasts. The movie’s theme, as it were, “Cry Little Sister,” is particularly effective, especially over the pivotal scenes it’s played. To its credit, the movie never uses music to manipulate the audience’s mood as the songs are incorporated so seamlessly, they become another element to the landscape. Likewise, the movie doesn’t feel too heavy-handed with songs but uses them to punctuate certain moments. Much like its visual attributes, the musical backing displays tact and careful curating. The casting here is also nicely chosen as there aren’t any massive stars whose presences might have detracted from the story. (That’s sometimes a problem for movies sporting easily recognized names, as it seems like the actors are staring in the movie versus the movie showcasing the actors, which isn’t the same thing.) Undoubtedly the shining star here would be Kiefer Sutherland as David, the leader of the titular Lost Boys.  Right from his introductory scene to the character’s finale, Sutherland exudes a demeanor of contrasts: calm and collected, wild and vicious, and both are perfectly melded.

It’s probably cliched to say that Sutherland vamps it up, but that’s honestly a fair assessment and he’s clearly having fun. Plus, his performance shows how it’s possible for a vampire to be a genuine bad boy while not becoming the annoying emo sort who broods 24/7. In a side note, this movies capitalizes on Sutherland’s ability to play a “bad boy,” a trait that slips in throughout his film and television career, culminating (I think) under a more mature guise in his portrayal of Jack Bauer in 24. Here, David is presented as a credible threat kept predominantly under a mantle of subdued calm. But when the monster within is unleashed, gone is any sense of serenity and out come the fangs. And I know vampires are supposed to be monsters and all, but still, how could you not fall for David?  Naturally, with this being a vampire movie, it’s only right and fair to examine how well The Lost Boys makes use of vampire lore. As expected, it takes liberties, but not so much that the vampire characters become unrecognizable as vampires. The movie borrows from tradition in terms of the nature of vampires and some of their innate habits besides just consuming blood, but the variations it allows for don’t utterly betray established lore. Basics include night stalking and blood consumption, but there are others, such as the ability of flight, the requirement of inviting a vampire into one’s home, and an alluring aspect that isn’t always directly tied to a vampire’s physical appearance. Sam learns about vampires from reading comic books, so this becomes an interesting meta moment where viewers learn about vampires through a movie in which an in-world character learns about vampires from written “lore” through comics.

My only criticism in this regard is that we’re never told how or why people attribute the murders to vampires. It’s just an understood fact. It’s akin to watching a sci-fi movie and not being told where an alien race comes from – they’re simply present because the story requires it. I didn’t take too much issue with this because the movie’s aim is to entertain rather than lecture with a backstory about vampires. Thus, The Lost Boys stays true to the roots of vampire lore in that its vampires, while cool and seductive, still remain monsters at their core. That’s an element often missing in what I call “softer” vampire stories – vampires are terrifying monsters, first and foremost, not brooding teen boys with glittery skin.

The movie’s title itself is interesting as it ties into the story’s chief theme of temptation. The Lost Boys could have three different interpretations. The first and most surface-level one is the reference to missing persons who, behind the scenes, are victims to vampire attacks. The second meaning is the obvious connection to J. M. Barrie’s novel, Peter Pan, as the Lost Boys are a ragtag group of lads who christen Peter Pan as their leader. Barrie’s title character has always served as a symbol of youthful, carefree innocence, on one hand, and as the caricatured paradigm of a person who wants to perpetually remain a child and never assume adult responsibilities, on the other. In the novel, the Lost Boys mirror Pan’s personality concerning these attributes. Here, the Lost Boys in this movie, with David serving as their leader, are young adults frozen in eternal youth who bear no responsibilities and who wile away their nights riding motorcycles and strolling the boardwalk while sleeping away their days. The symbolism of inherent innocence is subverted thanks to the fact that the Lost Boys are monsters who are anything but innocent.

The final meaning behind the movie’s title concerns lost souls, not only in relation to the Lost Boys but also regarding brothers Michael and Sam. Both are newcomers to a new town and are trying to find their way during a transitional phase of their life. Sam seems to find his feet faster and easier than Michael, as he likes exploring the boardwalk and makes friends with Edgar and Allen, the Frog brothers, who run a comic book shop. Michael, on the other hand, has a tougher time, perhaps because he’s older and more self-conscious. Thus, even though Sam is lost in a new place, it’s Michael who feels more disconnected, and the chasm only deepens once he encounters David and the Lost Boys.

Beneath the movie’s glossy, 80s-drenched surface is an extended metaphor for giving into temptation and the price of doing so. The film as a whole echo the wisdom found in Proverbs 13:20: “He who walks with wise men becomes wise, but the companion of fools will suffer harm” (RSV). The titular Lost Boys are “fools” because they give no thought to how they live, partaking in whatever strikes their fancy between times when they satisfy their thirst for blood. In truth, Michael and Sam’s grandfather’s taxidermy hobby has something in common with the vampires here: both give the appearance of something being alive when, in fact, the being is dead and, hence, a lost cause. In relation to this theme of temptation is the exploration of how the two brothers have their eyes opened to evil in their world. For Sam, this is courtesy of his conversations with Edgar and Allen Frog. They try to warn him about the presence of vampires in the community and give Sam two comics to try to educate him. “Think of it more as a survival manual,” they tell him. Along these lines, the Frog brothers declare that they’re “dedicated to a higher purpose. Truth, justice, and the American way,” which is through their work to combat vampire activity. Their interactions with Sam could be a stand-in for someone warning another person about temptation and evil. To his credit, Sam heeds their advice, steers clear of the vampires, and even seeks the brothers’ help in the end.

In contrast, Michael experiences the world’s evils first-hand by keeping company with David and his fellow vampires. David serves the role of a tempter, and the manner in and rhetoric by which he attempts to lure Michael into the Lost Boys adapts to the situation and Michael’s apprehensions. He never forces Michael to do anything, thus not violating Michael’s sense of agency – it’s all Michael’s doing while acting on David’s persuasive speech. David makes an offer and extends a opportunity to do wrong, but it’s up to Michael to either turn away or give in. Michael’s decisions illustrate the wisdom found in Proverbs 14:12: “There is a way which seems right to a man, but its end is the way to death” (RSV). Or in this case, being turned into a vampire.

In their first extended scene together, Michael decides to follow along on his motorcycle as the Lost Boys head for their ocean-side lair. David treats it as a challenge, but not in the way Michael or viewers might expect. This isn’t so much of a race but a way to plumb the depths of Michael’s curiosity. “You don’t have to beat me,” David tells him. “You just have to try and keep up.” He throws down the proverbial gauntlet to see if Michael will take the bait. Michael does, committing his first mistake – showing curiosity about the Lost Boys and following through to that end. David later asks him, “How far are you willing to go, Michael?” Michael’s hesitation is obvious, as if he senses something is amiss, but his curiosity eggs him on. Thus, just as Sam’s curiosity about vampires leads him to arm himself with knowledge so as to protect himself and help his brother, Michael’s curiosity takes a different turn as it leads him to seek acceptance from a group of dubious young men.

Michael’s next test occurs when he follows the Lost Boys to their lair, which acts as a sort of grown up playground where “you ask, and then you get.” If the first test was meant to probe the depth of Michael’s curiosity, this second test conducted by David is intended to see how far Michael will allow himself to be tricked into partaking in something he ought not to. David talks Michael into believing that the food he’s eating is actually maggots and worms. In reality it isn’t, but the fact David planted the idea in Michael’s mind beguiles Michael into seeing the illusion thanks to the power of suggestion. The final element to this test is a bottle of wine David encourages Michael to drink from, sealing his induction into the Lost Boys. It would be easy to conclude that, since the Lost Boys weren’t really eating maggots and worms, then the wine is not what David claims it is either. But Michael doesn’t try to think through this using logic as he’s driven by a desire to fit in. So he drinks wine that’s actually blood, which turns him into a vampire, while David urges, “Be one of us.”

The third test is to gauge Michael’s commitment. Upon leaving the lair, the Lost Boys engage in dangerous stunts by hanging from the underside of a railway bridge while a speeding train passes overhead. One by one they let go to descend into the fog below, with David being the last to follow, urging Michael to prove, once and for all, that he’s “one of us.” Michael displays hesitancy as he’s afraid to let go, yet in the end he gives in and begins his descent, both literally and metaphorically. Thus, the three tests reflect three phases of temptation. The first is an appeal to curiosity, the second is caving into societal pressure, and the third is an appeal to the desire to prove oneself. In this way, the movie delivers subtle and surprisingly thoughtful insight into, not only the nature of temptation and its many forms and faces, but also the dire consequences for giving in.

Michael’s initiation culminates when he accompanies the Lost Boys to a campsite. Here, the Lost Boys, excluding Michael, revert into their monstrous forms and attack unsuspecting revelers. When Michael watches, horrified, from the sidelines. David confronts him over his failure to join in, which is the first step in the right direction for Michael. “Initiation’s over,” David tells him. “It’s time to join the club….So, now you know what we are. Now you know what you are.” Here, David is moving from being a temper to an accuser as he’s not happy that Michael, whom he likely believed belonged among his number, is refusing to give in. David mentions the benefits of Michael’s new vampire nature: “Never grow old, Michael. And you’ll never die.” Though there is one ultimatum – “But you must feed.” Even though Michael’s decision to join the Lost Boys means he will never face death nor age, he is now a slave to an inner desire for blood.

It’s at this point that Michael knows he is incapable of saving himself; thus, the role of savior turns to Sam. As much he wants to rid his brother of his monstrous nature, one line he won’t cross is murdering his own flesh and blood. The Frog brothers, more than once, advise Sam to kill Michael. But Sam refuses on principle (“He’s my brother!”) and never even considers it as an option. Later, when Sam is willing to risk his life to revert Michael’s state, he tells Michael, “This time I’ll protect you, bud…..Even though you’re a vampire, you’re still my brother.” Thus, Sam is dedicated to a better, higher way – preserving life rather than taking it. To his credit, Michael never completely caves to his new nature. He still sees himself as Sam’s brother and goes to Sam for help. He tells him, “I know who I am now….I’m just like David.” But another character insists he isn’t and this person has also resisted from making a first kill so as to prolong the full transformation. While this other character claims it’s too late for them, they assert it isn’t too late for Michael to become human again.

The only way to restore Michael is to kill the head vampire, one assigned to protect the lesser vampires under their charge, as doing so will restore all half-vampires. One becomes a full vampire after committing a first kill, which Michael has yet to do. He is infected, so to speak, but never gives in. During the movie’s penultimate scenes, Michael and David face off. David says he tried to make Michael immortal, making it sound like it’s a favor, but Michael asserts, “You made me a killer!” David says, “You are a killer” and urges Michael to join him and the other Lost Boys. David insists it’s too late for Michael to change because he drank a vampire’s blood, which is now in his veins. But Michael asserts, “So is mine,” meaning he is still himself and has the freedom to choose to do what’s right and even harbors good shame of his sins and of what he’s become. Without revealing spoilers, Michael and Sam emerge victorious, and it’s these moments that show how, while sin will be defeated, it’s better not to give into temptation at all. Thus, The Lost Boys acts as a cautionary tale of how “each person is tempted when they are dragged away by their own evil desire and enticed” (James 1:14, NIV).

The only reason for my awarding this movie four stars is due to its final fifteen to twenty minutes. Here, the cheese (and blood) flows more readily. It’s expected because it’s a vampire movie and shows restraint up to this point when it goes a bit off the rails. Though even in the final act it’s nowhere near as violent as it could have been. The finale isn’t completely irredeemable as it carries over the underlying theme of temptation by portraying Michael’s struggle to be rid of the results of his falling into sin. I will say that the movie as a whole ends on a darkly light-hearted note, which is a good reflection of it as a whole.

Overall, The Lost Boys is a solid vampire tale – nothing unique or groundbreaking but nothing too horrific or ultra-gory that it might scare off casual vampire fans. This movie stays true to its promised tone and offers up an enjoyable vamped up performance from a young Kiefer Sutherland. Yet it is surprisingly thoughtful as it presents a warning against the dangers of giving into temptation, noting there will always be a price to pay for doing exactly that. Viewers searching for a vampire story geared for older teens and adults that pays a respectful homage to the fanged villains while presenting a fresh look (circa 1980s) will find much to sink their teeth into here.