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The Little Vampire

The Little Vampire

Family · Adventure · Comedy · 2000

Based on the popular books, the story tells of Tony who wants a friend to add some adventure to his life. What he gets is Rudolph, a vampire kid with a good appetite. The two end up inseparable, but their fun is cut short when all the hopes of the vampire race could be gone forever in single night. With Tony's access to the daytime world, he helps them to find what they've always wanted.

Movie details

The Little Vampire

“They're not just best friends, they're blood brothers.”

2000 Family · Adventure · Comedy 1h 35m

Critical arithmetic

One number, for now.

TMDB

6.9 / 10

Community rating

Based on the popular books, the story tells of Tony who wants a friend to add some adventure to his life. What he gets is Rudolph, a vampire kid with a good appetite. The two end up inseparable, but their fun is cut short when all the hopes of the vampire race could be gone forever in single night. With Tony's access to the daytime world, he helps them to find what they've always wanted.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Little Vampire?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Uli Edel

Written by

Larry Wilson · Karey Kirkpatrick

Jonathan Lipnicki

Jonathan Lipnicki

Tony Thompson

Richard E. Grant

Richard E. Grant

Frederick Sackville-Bagg

Jim Carter

Jim Carter

Rookery

Alice Krige

Alice Krige

Freda Sackville-Bagg

R

Rollo Weeks

Rudolph Sackville-Bagg

Anna Popplewell

Anna Popplewell

Anna Sackville-Bagg

Pamela Gidley

Pamela Gidley

Dottie Thompson

Court is in session

Put The Little Vampire on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.