血肉至亲

Natasha Kermani执导
R
2025    89分钟恐怖
4.240%27%5.2
在Disney+上观看
在Disney+上
赞助内容
剧情讲述了两个在过度保护的父亲亚伯拉罕的统治下挣扎的男孩马克思和鲁迪。在他们深入研究了亚伯拉罕与德古拉的历史后,马克斯和鲁迪的世界揭开了面纱,因为他们发现了他们在不知不觉中继承的历史和遗产。
  • Titus WelliverAbraham
  • Jocelin DonahueMina
  • Brady HepnerMax
  • Judah MackeyRudy
  • Aurora PerrineauElsie
  • Corteon MooreEddie
  • Jonathan HowardArthur Holmwood
  • Larry CedarPriest
  • Paul WongSurvey Captain
  • Fayna SanchezAda
  • Nick EpperHenry
  • Natasha Kermani导演 / 编剧
  • Leonora Darby制片人
  • James Harris制片人
  • Tim Wu制片人
  • James Howard Herron制片人
  • Samuel Zimmerman制片人
  • Julia SwainDirector Of Photography
  • Amber BaileyMakeup Department Head
  • Angela NeffMakeup Artist
  • Devon Geathers2025年8月21日
    Meh.... Definitely wouldn't call this a vampire movie, nor horror; if anything, it's a drama. This felt slow and to me, it only had one moment I'd consider interesting, but you'd have to stay with it long enough to reach that part, and even then it's just.... Meh....
  • David Scarpa2025年8月8日
    An interesting take on the Dracula and Van Helsing Mythos adapted from a Joe Hill Story, Great performances and direction but the middle third is a bit of a slog
  • wdams2026年5月5日
    I don't care for a standard frame. Nostalgia is for a reason.
  • ricomckee2025年8月15日
    Just bad. Dull. Please, just make a horror movie with something. Instead it is a period piece about desert California?
  • jackmeat2025年8月13日
    My quick rating - 3.6/10. Abraham’s Boys is proof that you can take a legendary vampire hunter, give him a change of scenery, a couple of moody sons, and still somehow produce a film with the pulse of a fainting goat. We open with Abraham Van Helsing (Titus Welliver) fleeing Europe after the events of Dracula and relocating to rural California circa 1915. At least, that’s what the wardrobe department says. The costume design nails the early 1900s vibe, but I’m not entirely sold on the idea that this dusty stretch of countryside had the electrical infrastructure of downtown Manhattan. Sure, maybe it’s possible, but so is the existence of vampires, and one of those felt more believable here. From the get-go, the Shudder logo pops up, a warning sign for anyone who knows it’s a coin flip between “hidden gem” and “nap time.” Unfortunately, this one lands solidly in “nap time,” with fade-outs so abrupt they feel like someone edited out the commercials from a Hallmark rerun. The setting is intimate — and by “intimate,” I mean the entire movie takes place at the Van Helsing home. Sounds cozy? It’s not. This isn’t the action-packed, monster-bashing Van Helsing you know; it’s more of a “watch some people talk about things that might happen eventually” kind of vibe. In an 89-minute film, nothing noteworthy happens for over an hour, which is a pacing ratio only appreciated by sloths and insomniacs desperate for a cure. Now, credit where it’s due: the cinematography is gorgeous. If there was an Oscar for “Best Camera Work in a Movie Where Nothing Happens,” this would be a frontrunner. Sadly, stunning visuals can only do so much when the script is thinner than Dracula’s reflection. The story skips right over any buildup of tension between father and sons and leaps straight into “Dad’s nuts.” No subtlety. No wavering loyalties. Just… well, wham, bam, Van Helsing’s a crazy man. Aurora Perrineau appears briefly as a settler but might as well have been a piece of set dressing for all the impact her character has. The standout, and I use that term generously, is Brady Hepner as Max, the older brother. He at least seemed awake while delivering his lines, which is more than I can say for Titus Welliver’s very American take on a man who’s supposed to be from London. Bottom line: if you’re streaming this at home, don’t get too comfortable since you’ll be asleep long before anyone so much as flashes a wooden stake.

血肉至亲花絮

在您的设备上获取Plex

在20多个平台上免费使用。选择您的平台。
查看所有支持的设备 →