43 Fast Facts About Field of Dreams

Amy Madigan and Kevin Costner star as Annie and Ray Kinsella in Field of Dreams (1989).
Amy Madigan and Kevin Costner star as Annie and Ray Kinsella in Field of Dreams (1989).
Universal Pictures

If you have seen Field of Dreams, you likely have a strong opinion on it. While some are moved by its fantastical and heartfelt story of personal redemption, others dismiss it as maudlin and silly, or a "male weepie at its wussiest," as Richard Corliss of TIME Magazine once infamously put it. Either way you look at it, the Oscar-nominated movie—which made its debut on May 5, 1989—is still being talked about 30 years after its release.

1. Field of Dreams was based on a book called Shoeless Joe.

Field of Dreams  writer-director Phil Alden Robinson had loved W.P. Kinsella's Shoeless Joe since the book was first published in 1982. Despite 20th Century Fox's repeated insistence through the years that the story wasn't commercial enough to be adapted into a movie, Robinson continued working on a script for it. Eventually Robinson and producers Lawrence and Charles Gordon sold the screenplay to Universal.

2. Shoeless Joe evolved from a short story.

Ray Liotta in 'Field of Dreams' (1989)
Ray Liotta stars as Shoeless Joe Jackson in Field of Dreams (1989).
Universal Pictures

Before Shoeless Joe, there was “Shoeless Joe Jackson Comes to Iowa,” a 20-page short story that W.P. Kinsella penned for an anthology. When Larry Kessenich—an editor at Houghton Mifflin—read the synopsis, he contacted Kinsella and convinced him to turn the premise into a full-length novel. “I wrote back to say I would need guidance, as I had published four collections of short stories but had never written a publishable novel," Kinsella said.

3. It took W.P. Kinsella just nine months to write the book.

While Shoeless Joe may have been Kinsella's first novel, he finished it rather quickly. With Kessenich’s help, this new extended version of the story was completed in the span of nine months.

4. Phil Alden Robinson was upset that the studio wouldn’t let him use the title Shoeless Joe.

When Field of Dreams was first shown to test audiences, it was using the title Shoeless Joe. Audiences said it reminded them of a hobo. With trepidation, Robinson called Kinsella to tell him that the movie's name was being changed to Field of Dreams. Kinsella was ok with it, as one of his own ideas for his book's title was The Dream Field. It was apparently his publisher who pushed for Shoeless Joe.

5. A few characters from Shoeless Joe were omitted from the Field of Dreams script.

In the Shoeless Joe novel, we’re introduced Eddie “Kid” Scissions, the previous owner of Ray’s farm. An elderly Iowan, Scissons claims to be the “oldest living Chicago Cub,” but soon enough, Ray learns he never even suited up for the team. “It was a wonderful subplot,” Robinson said, “[but] we couldn’t find room for it.” Another character cut out of Robinson’s screenplay was Richard Kinsella, Ray’s identical twin brother.

6. In the book, J.D. Salinger was the author Ray Kinsella tries to kidnap.

W.P. Kinsella's real original title for his book was The Kidnapping of J.D. Salinger. Studio executives, however, were afraid that bad publicity from Salinger's threats to file a lawsuit would harm them, so the character of Terence Mann was created instead.

7. Ray Kinsella was named after a J.D. Salinger character.

A photo of J.D. Salinger
Wikimedia Commons

W.P. Kinsella insists he didn't just put his own last name as Ray's and call it a day. Kinsella was a last name Salinger used in two stories: Richard Kinsella was an annoying classmate of Holden Caulfield in The Catcher In the Rye, and Ray Kinsella was a character in the short story A Young Girl in 1941 With No Waist at All. The idea was for a Salinger creation to appear in front of his creator and take him to a ballgame.

8. An outfield fence was considered, but never built, for Field of Dreams.

Here’s another difference between Kinsella’s novel and its Hollywood adaptation. “In the book, there’s a fence with a door in it that separates the ball field from the corn field, and we had done drawings of walls and fences” Robinson explained in a discussion with sportswriters Stephen C. Wood and J. David Pincus. “I asked, ‘Why would he build a fence?’ and then the corn became the wall.”

9. Kevin Costner wasn't initially considered for Field of Dreams because he had just starred in Bull Durham.

Kevin Costner and Tim Robbins in Bull Durham (1988)
Tim Robbins and Kevin Costner face off in Bull Durham (1988).
Metro-Goldwyn-Mayer Studios Inc.

Kevin Costner was the first actor to come to Robinson's mind to play Ray, but he had just starred in Bull Durham, another baseball movie. A Universal executive got Costner to read the script anyway, and he decided to do it because he felt it would be akin to It's a Wonderful Life.

10. W.P. Kinsella and his wife almost appeared in Field of Dreams.

Kinsella and his wife were in the crowd for a scene of a PTA meeting, which was shot at a gymnasium in Farley, Iowa. “My wife and I were part of the audience at the PTA scene,” Kinsella later said. “We were trapped there for a full day of sweltering retakes, and we never appeared in the final cut.”

11. Ben Affleck and Matt Damon were extras in Field of Dreams.

Damon was 17 years old and Affleck turned 16 during the summer of 1988, when the film shot on location for the scenes in Fenway Park. More than a decade later Affleck would star in Robinson's The Sum of All Fears; on the first day of shooting, he reportedly told Robinson: "Nice working with you again."

12. There’s a Watergate Easter egg in Field of Dreams.

A portrait of 37th president Richard Nixon
Keystone/Getty Images

While walking through the streets of Chisholm, Minnesota, Ray spots a campaign poster for Richard Nixon in a storefront window. Guess what’s on display right behind it? An assortment of tape recorders. “I thought that was so clever, but in the film print you can’t actually see [the recorders],” Robinson said in 2013. However, they’re clear as day in digital editions of the movie.

13. The person who voiced "The Voice" that spoke to Ray in Field of Dreams remains a mystery.

For years it was rumored that the voiced belonged to Ray Liotta, who played Shoeless Joe Jackson. Kinsella wrote that he was told it was actually Ed Harris, Amy Madigan's husband (Madigan played Ray's wife, Annie).

"What’s funny is that a few people who thought they knew have revealed it and gotten it wrong," Robinson said in June 2019. "I’ll read people saying, ‘Well I happen to know that it’s so-and-so,’ and I’m like, ‘Oh no, it’s not!’ We’ll let that remain a secret. It’s a great mystery, and I like that.” The Voice is officially credited as being played by Himself.

14. A deleted scene from Field of Dreams sees Ray getting his hearing checked.

Before Ray starts obeying the mysterious voice that's speaking to him, he tries to find a logical explanation for it. “I … had a scene in which he goes to an ear doctor to have his hearing checked,” Robinson told Deadline. Ultimately, this footage wound up on the cutting room floor.

15. People regularly misquote Field of Dreams’s most famous line.

The actual quote is: "If you build it, he will come," not "If you build it, they will come." It's a common mistake. The line was ranked number 39 on AFI's 100 Greatest Movie Quotes of All Time.

16. The grass was painted green for Field of Dreams.

Filmed on an actual cornfield-turned-baseball diamond in Dyersville, Iowa, a season-long drought led to the need for some cosmetic touch-ups. The dying grass was coated with some green vegetable dye and latex turf paint.

17. James Earl Jones's wife told him his "people will come" speech would never make the final cut.

It was James Earl Jones's wife who convinced him to accept the role of Terence Mann in the first place, though she warned him that the "long speech about baseball will never be in the film, it'll be on the cutting-room floor."

18. James Earl Jones reunited with a former Broadway co-star while shooting Field of Dreams.

Back in 1958, Jones made his Broadway debut in a stage production of Sunrise at Campobello. One of his castmates in that show was Anne Seymour, who portrays the Chisolm newspaperwoman in Field of Dreams. This was to be her last role, as she died shortly before the movie’s release. “It was nice to have that moment with Anne,” Jones told the Des Moines Register in 2019.

19. Moonlight Graham is a real person.

Kinsella used Archibald Moonlight Graham's real life story for his book, with the exception that the real Graham's lone major league game took place on June 1905, not on the last day of the 1922 season like Burt Lancaster's character in the film. The author found Graham's name in a baseball encyclopedia he received as a Christmas gift and decided the name was better than anything he could ever come up with on his own. In real life, Graham became the beloved town doctor of Chisholm, Minnesota after answering a newspaper ad.

20. Moonlight Graham’s on-screen uniform in Field of Dreams is a little anachronistic.

Late in the film, a young Graham takes the field in an orange and black New York Giants jersey. This isn’t quite period-accurate: The Giants didn’t start wearing those uniform colors until 1933—long after Graham’s MLB career wrapped up.

21. Jimmy Stewart was the first choice to play Moonlight Graham in Field of Dreams.

Jimmy Stewart in Alfred Hitchock's 'Rear Window' (1954)
Jimmy Stewart in Alfred Hitchock's Rear Window (1954).
Universal Pictures Home Entertainment

Jimmy Stewart passed on the role. Burt Lancaster himself initially didn't "get it," but a friend convinced by him to take the part. In Roger Ebert's four-star review of the movie, he said Field of Dreams was "the kind of movie Frank Capra might have directed and James Stewart might have starred in."

22. Field of Dreams quotes Moonlight Graham’s actual obituary.

When the real Graham died in 1965, Veda Ponikvar—the founder of the Chisolm Free Press and Tribune—wrote a stirring tribute. “There were times when children could not afford eyeglasses or milk or clothing,” noted Ponikvar at the time. “Yet no child was ever denied these essentials because in the background there was always Dr. Graham. Without any fanfare or publicity, the glasses or the milk or the tickets to the ballgame found their way into the child’s pocket.” In Field of Dreams, Anne Seymour recites those lines word-for-word.

23. Field of Dreams was Burt Lancaster's last film to play in theaters.

Oscar-winning actor Burt Lancaster was 74 years old during the filming of Field of Dreams. After a couple of TV movie jobs, Lancaster retired from acting. He passed away in 1994.

24. Field of Dreams was Gaby Hoffmann's first movie.

Kevin Costner, Gaby Hoffmann, and Burt Lancaster in 'Field of Dreams' (1989)
Kevin Costner, Gaby Hoffmann, and Burt Lancaster in Field of Dreams (1989).
Getty Images

Gaby Hoffmann, the daughter of Andy Warhol superstar Viva Auder Hoffmann and soap actor Anthony Herrera, played Ray's daughter Karin at age six. More recently, you may have seen her in Transparent or Girls.

25. The filming schedule for Field of Dreams was based on the height of the corn.

The corn had to be Kevin Costner's height (he's listed as 6'1") or taller when the voice first spoke to him. With a thumbs up from the state of Iowa, filmmakers dammed a nearby creek to make sure the corn had enough water. It worked almost too well; when Costner first hears "If you build it, he will come," he had to walk onto a foot-high platform. Just in case the creek damming failed, fake corn was on standby to be shipped in from Asia.

26. Field of Dreams’s corn-based schedule upset the powers-that-be on another Kevin Costner movie.

Production on Tony Scott's Revenge was repeatedly postponed while Costner and the cast and crew of Field of Dreams were working with the vegetation. A producer threatened to sue the actor, until it was agreed that Costner would start work on Revenge two days after Field of Dreams wrapped. Revenge ended up making less than $16 million at the box office, while Field of Dreams raked in more than $64 million.

27. Field of Dreams’s composer James Horner was moved to tears by a rough cut of the film.

A still from 'Field of Dreams' (1989)
Universal Pictures

Before composer James Horner, the musical maestro behind Titanic and Braveheart, agreed to score Field of Dreams, Robinson gave him a private test-screening. “He came to look at it at an early stage,” Robinson said on a DVD bonus feature. “We showed him the film and when the lights came up, he got up and left the room.” At first, Robinson was crestfallen, thinking Horner must’ve hated the film. But a few moments later, the Oscar-winning composer—who passed away in 2015—came back “very teary-eyed” and agreed to take the job.

28. Field of Dreams star Ray Liotta has never seen the movie.

Though Ray Liotta has been told that Field of Dreams is a great movie, he has yet to see it for himself. Liotta's mother was ill while they were filming the movie, which he mentally associates with the movie.

29. Ray Liotta thought the Field of Dreams script was "silly."

Frank Whaley and Ray Liotta in 'Field of Dreams' (1989)
Frank Whaley and Ray Liotta in Field of Dreams (1989).
Universal Pictures

It was only after the actor read the script a couple more times and read the book Shoeless Joe that it made more sense to him.

30. Former USC baseball coach Rod Dedeaux was a consultant on Field of Dreams.

The USC Trojans men’s baseball team claimed 11 national championships under Dedaux, who passed away in 2006. While Field of Dreams was in production, he and Don Buford (a major league veteran) helped the actors refine their playing skills. Some of them didn’t need much assistance: According to ESPN’s Jeff Merron, Dedeaux thought Costner “would’ve been good enough to play at USC.”

31. Ray Liotta couldn't hit left-handed well enough for Field of Dreams.

Shoeless Joe Jackson hit lefty and threw righty, but in the movie Liotta plays him as a right-handed batter. Liotta trained with professional baseball coaches for one month to hit left-handed like his character, but it wasn't good enough for the director Robinson. Liotta claimed Robinson said it was okay if the batting wasn't historically accurate, though to this day the actor regrets not finding a way to make it work.

32. Shoeless Joe Jackson and Ty Cobb were on friendly terms in real life.

Ty Cobb & Joe Jackson standing alongside each other, each holding bats
Ty Cobb and "Shoeless" Joe Jackson
Louis Van Oeyen, Library of Congress // Public Domain, Wikimedia Commons

Despite being one of the first inductees to the National Baseball Hall of Fame, Detroit Tigers legend Tyrus “Ty” Cobb never shows up at Ray’s magical park. “None of us could stand the son of a bitch when we were alive, so we told him to stick it,” Shoeless Joe says in the film. Yet the two players actually liked each other. Once, after they had both retired, Cobb told Shoeless Joe, “I’ll tell you how well I remember you … Whenever I thought I was a good hitter, I’d stop and take a good look at you. Then I knew I could stand some improvement.” By all accounts, Jackson was visibly touched.

33. W.P. Kinsella described watching Field of Dreams get made as “colossal boredom.”

Amy Madigan and Kevin Costner star as Annie and Ray Kinsella in 'Field of Dreams' (1989)
Amy Madigan and Kevin Costner in Field of Dreams (1989).
Universal Pictures

"Colossal boredom" was how Kinsella described Iowa in the summer of 1988. The author said his daughter had more fun, because she was involved in "a little romance" with Liotta.

34. W.P. Kinsella gave Field of Dreams four out of five stars.

It lost a potentially perfect rating because Kinsella didn't think Timothy Busfield's Mark was villainous enough, nor that Gaby Hoffmann looked like Ray and Annie's child.

35. A few months before he retired, Vin Scully read Terrence Mann’s iconic speech from Field of Dreams.

Scully started calling Brooklyn Dodgers games in 1950. For the next 67 years, the broadcaster stayed with the club, covering its relocation to Los Angeles, all six of the franchise’s World Series championships to date, and almost 10,000 games overall. On May 26, 2016—during his last season in the announcer’s booth—Scully tugged at fans’ heartstrings by reciting the classic “People will come” monologue from Field of Dreams in a viral MLB video.

36. In order to make the final scene in Field of Dreams work, the citizens of Dyersville, Iowa agreed to a town-wide blackout.

In order to film the movie's final scene, 3000 Iowa residents in 1500 cars agreed to take part. There was a forced blackout in the town of Dyersville, Iowa, which included other baseball games and the local train. The director's instructions were broadcast on a local radio station. One was for the drivers to flash their high beams off and on as they drove to make it look as if there was more movement than there actually was.

37. Dwier Brown, who played Kevin Costner’s father in Field of Dreams, worried he would drop the ball during their seminal game of catch.

The scene in which Ray plays catch with his father had to be shot during magic hour, 15 minutes after sunset, which gave little room for error for actor Dwier Brown, who was working with a rock-hard, vintage catcher's mitt. He is proud of the fact that he never dropped it.

38. Dwier Brown shot Field of Dreams right after his own father's funeral.

He got back in time to play catch with Costner. It helped him access the necessary emotions.

39. To celebrate Field of Dreams’s 25th anniversary, Kevin Costner and his sons played catch at the now-iconic field.

Costner tossed a ball around with his sons Hayes and Cayden on June 13, 2014. (At the times, the boys were ages 5 and 7, respectively.) This was part of a three-day festival which included an on-site screening of the film, a Q&A panel hosted by Bob Costas, and a concert featuring Costner’s own band, Modern West.

40. The owner of the farm featured in Field of Dreams proposed to his wife on the baseball field.

The 'Field of Dreams' baseball field
Universal Pictures

Don Lansing met his wife Becky on New Year's Eve 1995 when she made a pilgrimage to visit the baseball field from Field of Dreams. When he proposed marriage, he did so on first base.

41. The field still attracts approximately 100,000 visitors per year.

When Don and Becky Lansing put the property up for sale in 2010, it was purchased by Go the Distance Baseball, an organization that made the property even more accessible to visitors and fans of the movie with a regular roster of special events. Today, 30 years after the movie's original release, an estimated 100,000 people make the trek to visit the baseball field each year.

42. You can rent the Field of Dreams farmhouse—and baseball field.

James Earl Jones and Kevin Costner in 'Field of Dreams' (1989)
James Earl Jones and Kevin Costner in Field of Dreams (1989).
Universal Pictures

In 2018, Go the Distance Baseball partnered with Booking.com to make spending the night in the farmhouse featured in Field of Dreams a reality. Guests can book stays of one night or longer. And while they'll have to share the field with the tourists during the hours it's open to the public, you're welcome to have your own private picnic in centerfield once the crowds clear out.

43. The White Sox and Yankees will play one regular-season game near the “Field of Dreams” site in 2020.

Scheduled for August 13, 2020, this’ll be the first Major League Baseball game ever played in Iowa. For the big event, a temporary 8,000-seat stadium will go up next to the park where Field of Dreams was shot. The White Sox have been designated as the “home” team.

Amazon's Under-the-Radar Coupon Page Features Deals on Home Goods, Electronics, and Groceries

Stock Catalog, Flickr // CC BY 2.0
Stock Catalog, Flickr // CC BY 2.0

This article contains affiliate links to products selected by our editors. Mental Floss may receive a commission for purchases made through these links.

Now that Prime Day is over, and with Black Friday and Cyber Monday still a few weeks away, online deals may seem harder to come by. And while it can be a hassle to scour the internet for promo codes, buy-one-get-one deals, and flash sales, Amazon actually has an extensive coupon page you might not know about that features deals to look through every day.

As pointed out by People, the coupon page breaks deals down by categories, like electronics, home & kitchen, and groceries (the coupons even work with SNAP benefits). Since most of the deals revolve around the essentials, it's easy to stock up on items like Cottonelle toilet paper, Tide Pods, Cascade dishwasher detergent, and a 50 pack of surgical masks whenever you're running low.

But the low prices don't just stop at necessities. If you’re looking for the best deal on headphones, all you have to do is go to the electronics coupon page and it will bring up a deal on these COWIN E7 PRO noise-canceling headphones, which are now $80, thanks to a $10 coupon you could have missed.

Alternatively, if you are looking for deals on specific brands, you can search for their coupons from the page. So if you've had your eye on the Homall S-Racer gaming chair, you’ll find there's currently a coupon that saves you 5 percent, thanks to a simple search.

To discover all the deals you have been missing out on, head over to the Amazon Coupons page.

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The 25 Greatest Vampire Movies Ever Made

Christopher Lee in Horror of Dracula (1958).
Christopher Lee in Horror of Dracula (1958).
Warner Bros. Home Entertainment

Filmmakers have been making movies about vampires almost since the inception of motion pictures, and our public fascination with these creatures of the night has not yet dimmed. Throughout the decades we've seen vampire stories ranging from psychological dramas to comedies to all-out monstrous terrors, using these bloodsucking characters as metaphors for everything from wealth to sin to drug addiction to sexual taboos. Along the way, some truly great movies have come along. Here are our picks for the 25 greatest vampire films of all time (in chronological order).

1. Nosferatu (1922)

F.W. Murnau's legendary silent classic is famously a Dracula adaptation with the serial numbers filed off, but what's lasted about this gorgeous nightmare of a movie is not its reliance on the Dracula structure. Even if you've never seen it you know the image of Max Schreck as the needle-fingered, wide-eyed vampire Count Orlok, and Murnau never misses an opportunity to maximize the raw power of Schreck's performance. Even now, nearly a century after it was made, the image of Schreck simply walking into a dark bedroom at night is enough to leave you chilled.

2. Dracula (1931)

There's a reason you can ask almost anyone to do a Dracula impression and you'll still usually hear Bela Lugosi's accented, almost otherworldly cadence, and it's not just because a Sesame Street character picked it up and ran with it. While some viewers have come to prefer other versions of the Count—including the Spanish-language Dracula shot alongside the Lugosi version—the pure, spooky aura of Tod Browning's original Universal Pictures adaptation still casts a strange spell. The eerie, scoreless silence; the subtle touches of spookiness lurking around the main plot; and Lugosi's earnest power all still work all these decades later.

3. Vampyr (1932)

Carl Theodore Dreyer's moody masterpiece might move a little slowly for modern audiences, but if you let its shadowy world creep into your psyche just a little bit, it'll never leave again. Shot with minimal dialogue and often nonprofessional actors (the star is the guy who funded the movie), Dreyer makes excellent use of mood-setting visuals to convey an overall tone of dread. From shots of clouds moving behind weathervanes to the way the light hits a skull to the simple, slow turning of a key in a lock, Dreyer's film creates an atmosphere that's very similar to a nightmare that you don't quite understand until you've woken up.

4. Dracula's Daughter (1936)

In the opening minutes of Dracula's Daughter, the title character literally sets the body of her father on fire. It's a bold statement, especially considering how much the Count would come back to Universal Pictures in later years, and the first of many daring moves in this subtly progressive sequel. Gloria Holden is mesmeric in the title role as a woman trying to free herself from her father's curse; the lesbian overtones of the story are surprisingly progressive for their time; and the film has a lot of rather compelling things to say about being part of such a horrific legacy.

5. Horror of Dracula (1958)

Tod Browning's Dracula is a moody, quiet, understated exercise in otherworldly terror, which is why Hammer Studios's first attempt to bring the bloodsucking Count to life runs in almost entirely the opposite direction. Horror of Dracula, the first of several films to star Christopher Lee in the title role and Peter Cushing as his nemesis, Van Helsing, is hot in all the ways that Lugosi's Dracula is chilling. Vibrant, sexy, and led by two iconic performances, it remains a bloody good time, and inspired more than a few solid sequels.

6. Let's Scare Jessica to Death (1971)

The delicate dance of ambiguous horror can backfire on a filmmaker if the audience is eager to see genuine monsters onscreen, but John Hancock's film about a woman who retreats to a secluded country home after a traumatic event—only to find that something horrific might already be there—is an example of ambiguity going as well as it possibly can. With notes of The Turn of the Screw and Carmilla woven into its psychological terror, Let's Scare Jessica to Death is a film that manages to make you question everything while still ultimately delivering the horror goods. The scene in which the townspeople reveal the wounds on their necks remains one of the most unnerving moments in all of 1970s horror.

7. Blacula (1972)

If you haven't seen Blacula, you might be forgiven for thinking that the film is a joke based on its title alone, but it's in that very concept that the first note of brilliance comes from this exploitation classic. See, "Blacula" is a joke. It's a cruel joke told at the expense of the title character, who's made a vampire after refusing to allow slave trading to be done in association with his proud African nation. In that way, the film is much about an African leader reclaiming his personal and national pride in modern America as it is about a bloodsucking, seductive monster, and star William Marshall makes sure you walk away feeling both.

8. The Blood Spattered Bride (1972)

If Dracula is the most-adapted vampire story ever, then the second most-adapted is Carmilla, Sheridan Le Fanu's tale of a lesbian vampire preying on a young woman. Of all the various adaptations, though, Vicente Aranda's The Blood Spattered Bride stands out as the most impactful and the most haunting. Thanks to wonderful leading performances from Maribel Martín and Alexandra Bastedo, and a series of unforgettable image choices, Aranda's film captures both the alluring, dreamlike power of the story and the bloody eroticism of some of the best '70s horror films.

9. Ganja & Hess (1973)

Ganja & Hess is a film that takes its time, building its own pace and thematic weight brick by brick until it's finally ready to unleash the full horror of its story. At its core, Bill Gunn's film uses vampirism as an addiction metaphor, telling the story of the title characters—played by the incredible Marlene Clark and Duane Jones, who is best known for his role as Ben in George A. Romero's Night of the Living Dead—with patient, concentrated emotional energy. It's a film capable of being so laid back at times that you almost forget the horror is about to hit, then when it does it's an unforgettable explosion of brutality, sin, and raw acting power.

10. Nosferatu the Vampyre (1979)

The image of Max Schreck as the pale, pointy-eared monster known as Count Orlok was an indelible piece of pop culture for decades before Werner Herzog decided it was worth picking up again for his own purposes, and against all odds Herzog managed to produce a second all-out classic using Schreck and director F.W. Murnau's core cinematic concepts and pushing them just a bit further. This Nosferatu is a little sexier, a little more subtle, and propelled by magnificent performances from Klaus Kinski, Isabelle Adjani, and Bruno Ganz. Plus it's got pitch-perfect Herzog dialogue, including lines like "Time is an abyss profound as a thousand nights."

11. The Hunger (1983)

The Hunger is one of the sexiest, most stylish vampire films ever made. It's so distinct in its costuming, pacing, and cinematography that there's a temptation to place style over substance when talking about Tony Scott's dark romance. But look beyond the beautiful visuals and you'll see that Catherine Deneuve, David Bowie, and Susan Sarandon are actually weaving a devastatingly beautiful tale of fading love, regret, and loss. It's a story about an eternally young woman who would rather hide her past away than confront it, and it's that thematic core that takes the film from sexy supernatural drama to all-out horror in the final minutes.

12. Fright Night (1985)

Just as the Hammer Dracula films took everything pop culture had learned about vampires from the 1920s onward and poured it into films made for a new audience, Fright Night took everything pop culture had learned about vampires since the Hammer era and poured it into one endlessly entertaining movie about the vampire next door. It's basically a film about a kid who has grown up watching all of those vampire movies on television, only to find that a creature from one of them has walked off the screen and into his life. It's got all the things you want from a classic period vampire flick—a little comedy, a little seduction, some amazing creature effects, even a washed up vampire hunter character—but it puts them all in the house next door to great effect. It also has Chris Sarandon, and honestly what more do you need?

13. The Lost Boys (1987)

Lots of vampire stories focus on the monster entering an otherwise peaceful community and slowly consuming. The Lost Boys, directed with wit and visual power by the late Joel Schumacher, flips that convention to instead tell the story of a family who moves to a seemingly peaceful beach town, only to find that the monsters are actually sort of running the place. The result is a film that's funny, fierce, and a perfect metaphor for the often horrifying challenges of adolescence. Plus, it's the film that features the internet's favorite saxophone player.

14. Near Dark (1987)

The legend of the vampire is so cemented in popular culture that it can function as a kind of shorthand for just about any viewer, which means some of the best films in the subgenre are the ones that take it as a given that you know the basic rules, then go out of their way to reinvent them. Kathryn Bigelow's Near Dark is a masterclass in vampiric reinvention. You know the basic idea, the movie knows you know, and so you're plunged immediately into a dark Western dreamscape where a lonely young man is pulled into a world of hyperviolent predation lurking just beneath the sleepy surface of the land he thought he knew. Bill Paxton and Lance Henriksen give all-time great performances, and the film still packs some of the most memorable visuals any vampire movie has ever delivered.

15. Vampire's Kiss (1989)

Many of the greatest vampire stories ever told lean heavily on the metaphor of aristocracy as vampirism, of the upper class literally and figuratively sucking the life out lower classes. So it's no surprise that in the 1980s someone had the idea to take that metaphor and apply to rich single white dudes living the executive life in New York City. Vampire's Kiss, led by Nicolas Cage in one of the all-time great scenery-chewing Cage performances, is about both the sneering apathy of the wealthy in 1980s America and about the scourge of toxic masculinity in office spaces across the country, all with a black comedy twist. And if that doesn't do it for you, it's got Cage reciting the alphabet like a lunatic.

16. Bram Stoker's Dracula (1992)

The last Dracula adaptation on this list is one that hoped to take the familiar pop cultural aura of Bram Stoker's story and twist it in ways no one had ever seen on the big screen before, and the result is what might be the least subtle Dracula adaptation ever made—we mean that in a very good way. Francis Ford Coppola's take on the Count (played with relentless intensity by Gary Oldman) is soaked through with the kind of voracious appetites the legendary vampire himself would appreciate. This film is hungry for sex, hungry for stylized violence, hungry for lavish costumes, hungry for practical effects, for accents, for melodrama, for all of it. It's a film that invites you to drink deep, and the result is something unforgettable.

17. Cronos (1993)

Guillermo del Toro's feature directorial debut is already packed with many of his eventual hallmarks. The story of an antiques dealer who stumbles upon a mysterious device that induces vampirism, it's packed with memorable visual choices, a beautiful design for the central McGuffin, and of course, aching sympathy and even love for the central monster. In del Toro's hands, the legend of the vampire becomes a powerful, singular meditation on faith, love, and mortality that only he could deliver.

18. Interview with the Vampire (1994)

The first film adaptation of Anne Rice's legendary Vampire Chronicles novels remains a classic thanks to Neil Jordan's sumptuous direction and blistering lead performances from Tom Cruise (who Rice famously thought was miscast until she saw the film), Brad Pitt, Kirsten Dunst, and Antonio Banderas. Rice's stories often focus on the existential dread not of the humans surrounding the vampire, but of the vampire itself, living as an outsider in a world they once thought they understood. Jordan's film is thick with the emotional and thematic weight of that metaphor, but he and Cruise also ensure that the narrative around it never stops being a blast to watch.

19. The Addiction (1995)

Abel Ferrara's black-and-white film about a graduate student who becomes a vampire is a masterclass in how to absolutely pack 90 minutes of genre filmmaking with meaning while never letting go of the horror. Lili Taylor is stunning in the lead role, holding our eyes as Ferrara builds out the metaphors of the titular addiction, the philosophical underpinnings of each decision that drives the plot, and the slow-burn build to a literal blood feast at the end. It's a gritty, visceral gem of a film with a crystal clear understanding of what it wants to do with the vampire myth.

20. Blade (1998)

Blade is a film that begins with a shower system in an underground club raining blood down on dozens of dancing bodies, and that's pretty much all it needs to make this list. Seriously, though, Stephen Norrington's big-screen version of the Marvel Comics character of the same name, played with undeniable swagger by Wesley Snipes, is a supernatural action film that also manages to get vampires right. They could be disposable monsters for Blade to swipe at. Instead, they become a diverse array of characters who are often frightening, sometimes sympathetic, and always compelling.

21. Let the Right One In (2008)

"What if you were the one who got to be close to a vampire?" was done before Let The Right One In, but it was never done so beautifully before Tomas Alfredson's film about a lonely boy and his budding friendship with a strange new neighbor. From the way the camera sits, often distantly, to watch a child on a playground alone to the way the film is able to pivot from emotionally devastating scenes of isolation to sudden explosions of violence, it's a masterclass in tone, pacing, and feeling that's often as heartwarming as it is harrowing.

22. Thirst (2009)

No one on Earth shoots violence quite like Park Chan-wook, which means no one has ever made a vampire film quite as brutal and unpredictable as Thirst. But, as with all of his films, the violence is only part of the story. With the thematic weight of sin at the heart of this story of a priest who indulges in an affair around the same time as he's indulging his thirst for blood, Chan-wook anchors the film in the beautiful performances given by Song Kang-ho and Kim Ok-bin (credited here as Kim Ok-vin) to deliver a tragic, often strangely funny, tale of love gone wrong. The final act of this film is one of the most powerful and brutal of any vampire story you're ever likely to see.

23. Only Lovers Left Alive (2013)

Leave it to Jim Jarmusch to deliver one of the most straightforwardly gorgeous, deceptively simple takes on vampirism as loneliness, even when it's the story of who you get to share that loneliness with. Starring the relentlessly bewitching duo of Tom Hiddleston and Tilda Swinton, with unforgettable work by the great John Hurt thrown in for good measure, Only Lovers Left Alive works as an intimate, perfectly focused study of eternal love amid a changing world that's passed you by.

24. What We Do in the Shadows (2014)

The prevalence of vampire stories across pop culture means that spoofs were always inevitable, and the popularity of mockumentaries means that someone was probably bound to do one like this eventually. What sets What We Do in the Shadows apart, and takes it beyond its goofy premise into the realm of classics, is the sense of sincerity that hovers over the whole thing. The film doesn't attempt to poke holes in vampire tropes we love, and it earnestly avoids any sense of "Isn't this stupid?" mean-spiritedness. There's something so genuine about the whole thing, and that makes everything from the performances to the plot work so much better as not just a good comedy, but a good vampire movie, full stop. (We'd be remiss not to make mention of its TV series spinoff, which follows a different group of vampires living in New York.)

25. A Girl Walks Home Alone at Night (2014)

Ana Lily Amirpour's A Girl Walks Home Alone at Night is an unnerving, sensuous dream of light and shadow, anchored by a spellbinding performance from Sheila Vand in the title role. Rather than attempt to anchor her film to a clear sense of time and place, Amirpour's tale of a lonely vampire prowling a fictional city instead exists in its own, unmoored bubble, like a vampire who's forgotten how old they are or how far they've wondered. The result is a film that's as magical as it is unsettling—a fairy tale with fangs.