22 Fun Facts About Scrooged

Paramount Pictures
Paramount Pictures

Since the publication of Charles Dickens’s A Christmas Carol in 1843, the story of Ebenezer Scrooge has become familiar fodder for adaptations of all sorts—from ballets to operas to a mime performance by Marcel Marceau. But Richard Donner’s film adaptation, Scrooged, has one thing that sets it apart: comedy.

Since its release on November 23, 1988, the holiday comedy starring Bill Murray as a ruthless television executive tasked with pulling off a live Christmas Eve broadcast of A Christmas Carol (starring Buddy Hackett, Jamie Farr, the Solid Gold Dancers and Mary-Lou Retton as Tiny Tim!) has become a contemporary classic. Here are 22 things you might not know about the movie on its 30th anniversary.

1. THE FILM MARKED BILL MURRAY’S RETURN TO THE BIG SCREEN.

Though it’s easy to remember the 1980s as a decade packed with Bill Murray comedies, Scrooged marked a reemergence of sorts of the in-demand comedian. Though he had a brief cameo in Frank Oz’s 1986 remake of Little Shop of Horrors (playing a pain-seeking patient of Orin Scrivello, Steve Martin’s demented dentist character), Scrooged was Murray’s first major role following a self-imposed, four-year exile from Hollywood.

2. MURRAY REFERENCES LITTLE SHOP OF HORRORS IN THE MOVIE’S CLOSING SONG.

Scrooged concludes with the cast and crew singing “Put a Little Love in Your Heart.” For his part, Murray went a bit off-script, adding in lines like “Feed me Seymour,” a direct reference to Little Shop of Horrors.

3. MANY MORE OF MURRAY’S LINES WERE AD LIBBED.

In a 1988 interview with Philadelphia Daily News, Richard Donner discussed Murray’s penchant for improvisation and described the experience of directing Murray as follows: “It's like standing on 42nd Street and Broadway, and the lights are out, and you're the traffic cop.”

4. MURRAY HAD ORIGINALLY BEEN APPROACHED ABOUT THE MOVIE TWO YEARS EARLIER.

At that point, he wasn’t ready to jump back into the moviemaking fold just yet. “But when I wanted to work, the scripts were just not good,” Murray told Starlog Magazine in a 1989 interview.

5. BEFORE HE SIGNED ON FOR SCROOGED, MURRAY REQUIRED THAT THE SCRIPT BE REWORKED.

Paramount Pictures

"We tore up the script so badly that we had parts all over the lawn," Murray told Starlog. “There was a lot I didn't like. To remake the story, we took the romantic element [Frank's relationship with his former girlfriend, Claire, played by Karen Allen] and built that up a little more. It existed in the script’s original version, but we had to make more out of it. The family scenes were kind of off, so we worked on that.”

6. THE MOVIE WAS A SATURDAY NIGHT LIVE REUNION OF SORTS.

The script for Scrooged was written by Mitch Glazer and Michael O'Donoghue, whom Murray had worked with in the early days of Saturday Night Live.

7. EVEN PAUL SHAFFER WAS THERE.

Before he rose to fame as David Letterman’s musical director, Paul Shaffer was a member of the SNL house band from 1975 to 1980 and appeared in a number of sketches, most notably as the piano player to Murray’s Nick the Lounge Singer character. He makes a cameo in Scrooged as a street musician, where he plays alongside fellow musical legends Miles Davis, David Sanborn, and Larry Carlton.

8. A LOT OF FOOTAGE ENDED UP ON THE CUTTING ROOM FLOOR.

“We shot a big, long sloppy movie, so there's a great deal of material that didn't even end up in the film,” Murray told Starlog. “It just didn't work. You tend to forget what was wrong. It's hard. I just figured that anyone who's good could step into this part and have a lot of fun with it. It's sort of a wicked character. The idea of making a funny Scrooge was an inspired touch. That's what was appealing to me about it.”

9. RICHARD DONNER HAD HIS RESERVATIONS ABOUT TURNING A CHRISTMAS CAROL INTO A COMEDY.

“It’s a thin line,” director Richard Donner told the Texas Archive of the Moving Image about getting the right tone for the film. “But you have two of the most irreverent writers in the world. You have the most irreverent humorist since W.C. Fields. And you say, ‘Let’s go!’ There’s a thin line you walk, but the line is broken—hopefully—in the end of the picture when you see a man evolve out of a situation.”

10. DONNER CALLS IT THE MOVIE WHERE MURRAY BECAME “AN ACTOR.”

Though Scrooged is mainly a comedy, it concludes with Murray’s character being a changed man, who has to deliver a rather dramatic speech in order to make his character’s transformation clear. But Donner told Philadelphia Daily News that what they witnessed in that pivotal scene was something much greater: “On the last take I saw something happen to Billy. I saw Billy Murray become an actor.”

11. DONNER SAVED THAT DRAMATIC SCENE FOR THE VERY END OF THE SHOOT.

“I always had my car parked facing the gate,” Donner joked to the Texas Archive of the Moving Image about how the film’s ultimate success hinged on that final scene. Which is why he saved it for the end. “When Bill Murray played off that last scene in the way that he did, I felt confident—and slightly insecure—but I felt confident that we had accomplished what we wanted,” said Donner.

12. FOR MURRAY, THE BIGGER CHALLENGE WAS CARRYING A MOVIE ON HIS OWN.

Paramount Pictures

Murray was a bona fide movie star by the time Scrooged hit theaters, but up until that point—in movies like Caddyshack, Stripes, and Ghostbusters—he had always been part of an ensemble cast. “Scrooged was harder [than Ghostbusters] because I was by myself, really,” Murray told Starlog. “Even though there are a number of people in the movie, they only had cameos. They would stroll in for a day or two and split. I was there every day, and it was like flunking grade school again and again.”

13. ROBERT MITCHUM’S CAMEO WOULDN’T HAVE HAPPENED WITHOUT MURRAY.

In one of the film’s many aforementioned cameos, Robert Mitchum plays Murray’s boss, Preston Rhinelander. But such a small role for such a major star wasn’t an easy sell, so Donner invited Mitchum to meet with Murray. “Mitchum was not going to play that small a part, but we said, ‘Well come in and meet Bill. Let’s rap, let’s talk,’” Donner told the Texas Archive of the Moving Image. “He came in and we never got a word in edgewise. He’s so wonderful with stories and we didn’t want to talk … The minute you get around Bill, you’re swooning. Everybody is.”

14. SCROOGED IS A MURRAY FAMILY AFFAIR.

Though seeing one of Bill Murray’s brothers in one of his films is nothing new, Scrooged features all three of them—John, Joel, and Brian Doyle-Murray.

15. IT TOOK 23 YEARS FOR THE FILM’S SOUNDTRACK TO BE RELEASED.

Paramount Pictures

It wasn’t until 2011 that Danny Elfman’s score for Scrooged was released. The album, which was limited to just 3000 copies, contained a total of 34 tracks, not all of which were included in the film. The final track is a bonus track that was actually created for Trading Places.

16. KEITH HARING'S WORK MAKES A COUPLE OF CAMEOS.

Look at the background throughout the film and you’ll likely spot Keith Haring’s “Free South Africa” poster on a few occasions. The same poster is seen in Lethal Weapon 2, also directed by Richard Donner, which was released the following year.

17. SAM KINISON WAS SUPPOSED TO PLAY THE GHOST OF CHRISTMAS PAST.

The part eventually went to David Johansen, and rumor has it that that happened because of Murray’s close friendship with the actor-musician. If Johansen’s face looks familiar to you, but not his name, that’s because he often went by a different name at the time: Buster Poindexter. Yes, the very same guy who sang “Hot Hot Hot.”

18. CAROL KANE DIDN’T HAVE MUCH FUN AS THE GHOST OF CHRISTMAS PRESENT.

Paramount Pictures

Though it’s a running gag throughout the film that Carol Kane, as The Ghost of Christmas Present, be rather abusive toward Murray whenever they meet, the task began to take a toll on the actress. Both Donner and Murray told Starlog that Kane would often break down on the set, and spend 20 minutes or so simply crying.

19. KANE’S SCENES WEREN’T MUCH FUN FOR MURRAY EITHER.

In one scene, Kane is supposed to grab Murray’s lip. Which she did—a little too well. “There's a piece of skin that connects your lip with your gums and it was really pulled away,” Murray explained of the scene to Starlog. “She really hurt me, but it was my idea to be physical and it was her idea just to hit me as opposed to pulling the punches.” Filming had to cease temporarily while Murray healed from the incident.

20. JOHN HOUSEMAN PASSED AWAY LESS THAN A MONTH BEFORE SCROOGED PREMIERED.

John Houseman is yet another one of the preeminent actors who made a brief appearance in Scrooged. Unfortunately, he passed away on October 31, 1988, less than a month before the film made its debut on November 23, 1988.

21. IT WAS THE LAST PERFORMANCE BY THE SOLID GOLD DANCERS.

In the telecast within the movie, one of A Christmas Carol’s selling points is that it will feature the Solid Gold Dancers as The Scroogettes. The movie would mark the small-screen dance group’s final aired performance, as Solid Gold the television series had been canceled back in July.

22. THE STUDIO PLAYED UP GHOSTBUSTERS’S SUCCESS TO PROMOTE SCROOGED.

In an attempt to recapture the attention of Ghostbusters fans, the studio referenced the movie in Scrooged’s marketing materials, most notably with its tagline: “Bill Murray is back among the ghosts, only this time, it’s three against one.” The tactic probably didn’t get the studio the exact results it was looking for; while Ghostbusters was the second highest-grossing film of 1984 with $229,242,989 in box office totals, Scrooged made about a quarter of that ($60,328,558 to be exact) and was only the 13th highest grossing film of 1988.

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.