Only 3 Vampire Movies Are Better Than ‘Nosferatu’

F. W. Murnau‘s 1922 masterpiece Nosferatu is regarded by many as the best vampire movie ever made. Even if you disagree, what it means to the horror genre, and specifically the vampire subgenre, cannot be understated. Adapted, without permission, from Bram Stoker‘s seminal novel Dracula, Murnau’s silent film is a haunting masterpiece of German Expressionism. Max Schreck‘s performance as Count Orlok is terrifying without a single word spoken, creating a character who is often imitated but never duplicated.

In the century-plus since Nosferatu was released, a plethora of great vampire films have emerged from the shadows. 1931’s Dracula, starring Bela Lugosi, is probably the most famous, while Christopher Lee played the character many times for Hammer Films. Vampire movies of every kind have become popular favorites, from ’80s hits like Near Dark and The Lost Boys, comedies such as What We Do in the Shadows, and even an action hero in the form of Blade. Alas, Nosferatu‘s legacy remains unmatched, with only three movies arguably surpassing it in terms of quality. And while their significance might not challenge Nosferatu‘s, they remain crucial parts of horror and vampire history at large.

‘Vampyr’ (1932)

A year after Dracula came out, Carl Thoedor Dreyer‘s Dutch film, Vampyr, which he co-wrote with Christen Jul, debuted. Vampyr tells the story of Allan Gray (Julian West), a young man studying the occult in France, who is left a mysterious book while staying at an inn. Inside, he finds passages about vampires, and outside, shadows connected to no one beckon him towards a castle. What lies inside there is pure horror, and now Alan must save the daughters of the man who left the book to him. It won’t be easy, though, because one of those daughters, Léone (Sybille Schmitz), has grown ill after being bitten by a mysterious creature.

When Vampyr came out, silent films were starting to become a thing of the past. Dreyer takes an intriguing approach to how he tells his story. The title cards of silent films are still there, but there is sound too and some dialogue, although it’s kept to a minimum. Vampyr wasn’t a critical darling when it came out, and it’s nowhere near as popular as other films that could have made this list, but today it’s regarded as one of the best. From its deeply haunting imagery, stunning hallucinogenic cinematography, and chilling score, Vampyr not only influenced what was to come, but it stands on its own as a perfect vampire filled to the brim with dreamlike dread. In an interview with The Criterion Channel, Guillermo del Toro, who knows a thing or two about vampire movies, said that Vampyr is “as close as you get to a poem in film” and called it “a meditation on life and death, and on the beyond.” Takes a genius to know it,

‘Let the Right One In’ (2008)

In 2004, Swedish novelist John Ajvide Lindqvist wrote Let the Right One in, a heartbreaking and unusual coming-of-age story adapted in 2008 by Tomas Alfredson (Tinker Tailor Soldier Spy). The story is quite unlike any other kind of vampire tale. Set in early 1980s Sweden, the town of Blackenberg is a cold place covered in snow and the icy chill of some of its residents. Young Oskar (Kåre Hedebrant) is bullied by his classmates to the point that he fantasizes about murder. His life changes forever when he meets a friend his age, a new girl in town named Eli (Lina Leandersson). Eli is kind to Oskar, but she’s not like other kids; in fact, she only comes out at night because she’s a vampire.

Many vampire movies are deeply erotic. Let the Right One In is instead a study of tremendous loneliness and how isolation can erode the soul. Eli and Oskar have no one but each other, and Lindqvist’s script focuses on the best part of his book: the growing relationship between two children, one of whom has been a child for a very long time. Who knew that a film about murder and so much bloodshed could also be touching and quite emotional? Let the Right One In has plenty of stunning shots, many shocking scenes of gore and death, and the oddly beautiful contrast of red blood against white snow. It’s incredibly violent and somehow quiet and innocent at the same time, leading to a haunting and profoundly bittersweet ending that might induce joy in the audience rather than fear.

‘Sinners’ (2025)

Image via Warner Bros. Pictures

Ryan Coogler is one of the most brilliant Hollywood visionaries in recent memory. From Fruitvale Station to Black Panther, each of his acclaimed movies is better than the one before. He kept the streak going in 2025 by moving into the horror genre with the vampire film Sinners. Set in Mississippi during the 1930s, Michael B. Jordan plays dual roles as the Smokestack twins, who have opened a juke joint despite the reservations of the white community. Racists, as it turns out, will be the least of their worries when a trio of vampires, led by Remmick (Jack O’Connell), show up at their doorstep and ask to be let in. One by one, the characters are transformed into the living dead until only a few remain.

Sinners is a terrifying vampire movie. It doesn’t do anything new per se, it’s how Coogler tells the story in his screenplay and brings it to life on screen that creates such a fresh vision of horror’s oldest subgenre. O’Connell is chilling as Remmick, and it’s so easy to see how he can bring others under his spell. Despite this being a vampire film, and O’Connell being so good as the villain, Sinners belongs to everyone else, especially its Black cast. Jordan plays twins and convinces the audience with ease that they’re different people. The supporting performances are all incredibly solid, including an Oscar-nominated Delroy Lindo as Delta Slim and a scene-stealing Miles Caton in his first-ever film role as Sammie Moore. Sinners is scary, but more than that, it’s a celebration of Black culture and music. Fittingly, the film broke the record for most Oscar nominations and ultimately took four trophies, including one for Coogler and one for Jordan. It deserved every one and a few more.