All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Yes, absolutely, there is fun to be had, as well as many, many things to go boom, all amid an atmospheric urban jungle.

This is a dark and sometimes deeply uncomfortable drama

By the time the dramatic fireworks start popping off, each one feels earned.

"The Loveless" has apparently built somewhat of a cult since it was first released more than thirty years ago. To a degree, I can sort of understand that. There are some positive things to be found here. Though a low budget movie, the movie looks good, from the convincing period detail to the photography. The acting is also well done; you can really believe these brooding characters. And the atmosphere is appropriate for a movie about hard core bikers.Unfortunately, despite positive things like what I've listed, the movie didn't work for me. In fact, I think that most viewers will be dissatisfied as well. There is a big problem, and that problem is that there is virtually no plot. The movie is just one scene after another where little to nothing (usually nothing) of consequence happening. I admit I came close to hitting the eject button on my DVD player several times because I was quite frankly bored. In the end, I can only recommend the movie to hard core fans of anyone in front of or behind the camera.

There are two things I liked about this film: the opening, featuring Willem Dafoe, a motorcycle, and a sunrise; and the excellent recreation of the late 1950's. That's all. The rest is turgid.The script, with equal portions of blame allotted to co-directors Kathryn Bigelow and Monty Montgomery, is the problem. Everything is boring. Even the sex scenes are boring.I saw this film at MOMA, and Bigelow herself conducted a Q-and-A after the show. She said at the time she made this film she was interested in the process by which audiences identify with characters on the big screen. Sad to say, there is not a single character with whom this audience member could identify. In fact, I felt positively invited to view the entire cast with condescension and/or contempt.The drawback to starting one's career with a masterpiece like "Citizen Kane" is there's no place to go but downhill. I'll give Bigelow credit for one thing at least. She left plenty of room for improvement.

I love Near Dark, and consider it an absolute classic vampire movie....right up at the top of the list of the best, but this film. Whew! What can I say? A boring biker movie? Yeah, and then some. It's all talk and no action.I stayed with it to the end, hoping for a big finish, but it didn't happen. I guess I had worked myself up for a big Tarantino-like shootout in the bar, and it was over almost too soon to catch, if you blinked. Too bad. At least a blood bath at the end might have given me something to enjoy.I'm also a big fan of Willem Defoe, and he's very good in what little he does. One could still see the potential for greatness that would follow.I guess what really disappointed me the most was that I wasn't convinced that this was a real biker gang at all, just actors pretending to be bikers. They talk a lot, smoke cigarettes a lot, and drink beer a lot, but there's no real tension here, and ultimately the "bikers" turn out to be about like everyone else. There's no rumbles, no fights, just talking....long periods of talking.Still, if she never makes another movie, Katherine Bigelow can at least say that she made the best vampire movie ever produced. Near Dark rocks.

In the 1950s, a group of leather-clad bikers led by Vance are on their way to Daytona, Florida to compete in a race, but they get sidetracked into a quiet Georgia town to fix up a broken down bike. The uptight locals see them as nothing but trouble, and surely enough problems occur. The waitress of the dinner catches Vance's eyes and another being a brash, young teen, Elena.Wearing black leather never looked so cool! "We're going nowhere… fast" Well, this tag-line accurately describes this sublime, independent feature. Sure, it's not for everyone's tastes, but I loved this ultra-slick, inventively moody trip through the eyes of a couple of laid-back bikers of the 50s. For some people it might be aimlessly dull, because of the mellow tempo and it consciously ticks a long at a leisurely pace with vast empty spaces. I found it to be an evocative tale (despite being quite broad) that has a real hypnotic trance surrounding its arrestingly stylish framework that milks out the sullen atmosphere. There's such an authentic feel about it and so many inspired and iconic imagery seeping off the screen that you can't bear to take your eyes off it.The film was co-written and co-directed by Kathryn Bigelow and Monty Montgomery in their first major feature. The pairs' profoundly, textured direction, catches every little elegant detail (great use of the soothing neon-lighting and composition) with the guidance of Doyle Smith's crisply spacious cinematography. Being shot on location really added to the film's natural presence and unattainable free spirit. Story-wise, there's nothing really conventional about it, but just letting the poetically distinctive situations evolve into an impulsively, harrowing conclusion. The dialogues are rather dry and very sparse with splashes of sly remarks. While, it might not have a lot to say in its context. The stirring visual and music contributions do actually round it off nicely. A divinely, swish rockabilly soundtrack by Robert Gordon and mostly John Lurie becomes a major part of the scene, as it does shape the swanky feel.A huge curiosity would be that of William Dafoe's first major feature role and he rings true in a brilliant performance. His confidently, hardened turn simply has you in awe of his on screen magnetism. There are memorable no-bar performances by Robert Gordon, Tina L'Hotsky, Lawrence Matarese, Danny Rosen and Phillip Kimbrough, who snugly fill the shoes of the tightly rapport biker gang. Marin Kanter has attitude in her part as, Elena. J. Don Ferguson plays Elena's father, Tarver and brings to the table a character just waiting to crack. Finally, Elizabeth Gans is delightful in her role as the waitress, Augusta.This is more than just a basic biker; exploitation movie and I sure loved it. A beautifully, worthy obscure gem that's worth a look for those who enjoy a lot finesse mixed with a touch of enigma.