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A librarian from Transylvania must collect the fines on a 200-year overdue book, "The Book of all Evil." During his trip to the castle, he meets Marissa, a gorgeous rock star and heir to the castle's fortune. There they must confront the only other heir to the fortune and the book, Uncle Byron; and Uncle Byron has a very, very, very broad smile. (Verleiher-Text)

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Bloody13 

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Deutsch Hier hat Wynorski einmal wieder bewiesen, dass die Schnittstelle zwischen den Achtzigern und den Neunzigern einfach zu ihm passt. An einigen Stellen mag es zwar albern sein, aber oft auch sympathisch, wenn er humorvolle Parodien auf berühmte Horror-Marken (Blutgericht in Texas, Hellraiser, Nightmare on Elm Street, Freitag, der 13. oder Phantasm, der hier dank der Anwesenheit der "Bohnenstange" unwiderstehlich wird) kombiniert und in einem Fall sogar Corman's Klassiker The Terror schamlos plündert. Nun, wenn es um Komödien geht, braucht Vaughn's Dracula nicht so viel Charakter - ein paar Sprüche und Gummifledermäuse reichen aus. Was jedoch deutlich fehlt, sind irgendwelche Warzen, da es hier ziemlich viele pralle Brüste gibt. Schade, aber ansonsten eine ziemlich gute Verrücktheit für Halloween-Abende. ()

JFL 

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Englisch This solid parody in the style of Airplane! takes a shot at horror movies. It originated as one of a number of projects with which the young, diligent and, above all, enthusiastic Jim Wynorski sought to pay homage to his role model and then-employer, Roger Corman, and his portfolio of B-movies. In Transylvania Twist, Wynorski broke free from his career bonds in terms of the formalistic puns and jokes built on working with the medium of film, as well as on meta references to the earlier tradition of trash cinema and its creative centre in the form of Corman and the first generation of students of his school of remorseless film practice. The hastily thrown-together flick uses the same locations of other projects made at the time and, following the example of Hollywood Boulevard (which it references with the opening Miracle Pictures logo), uses the most ostentatious and expensive shots of action, effects and explosions from the entire existing catalogue of Corman’s New World and Concorde production companies to achieve a greater effect. In addition to a number of hilarious scenes, Boris Karloff’s cameo, cleverly borrowed from Corman’s celebrated dreck The Terror (1963), is the highlight of the movie. ()

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