The Lost Boys [Blu-ray] | ![The Lost Boys [Blu-ray]](http://ecx.images-amazon.com/images/I/51tAb0-JhUL._SL500_.jpg)
| Director: Joel Schumacher
Actors: Jason Patric, Corey Haim, Dianne Wiest, Barnard Hughes, Edward Herrmann
Studio: Warner Home Video
Category: DVD
List Price: $28.99
Buy New: $12.98
You Save: $16.01 (55%)
New (42) Used (13) from $12.16
Rating:  264 reviews
Sales Rank: 10072
Format: Color, Dolby, Special Edition, Subtitled, Widescreen
Languages: English (Original Language), English (Subtitled), French (Subtitled), Spanish (Subtitled)
Rating: R (Restricted)
Media: Blu-ray
Aspect Ratio: 1.78:1
Number Of Discs: 1
Running Time: 97 Minutes
Shipping Weight (lbs): 1
Dimensions (in): 7.1 x 5.4 x 0.6
MPN: 02431
UPC: 883929024315
EAN: 0883929024315
ASIN: B001AR4K8K
Theatrical Release Date: 1987
Release Date: July 29, 2008
Availability: Usually ships in 1-2 business days
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Product Description
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This 1987 thriller was a predictable hit with the teen audience it worked overtime to attract. Like most of director Joel Schumacher's films, it's conspicuously designed to push the right marketing and demographic buttons, and granted, there's some pretty cool stuff going on here and there. Take Kiefer Sutherland, for instance. In Stand by Me he played a memorable bully, but here he goes one step further as a memorable bully vampire who leads a tribe of teenage vampires on their nocturnal spree of bloodsucking havoc. Jason Patric plays the new guy in town, who quickly attracts a lovely girlfriend (Jami Gertz), only to find that she might be recruiting him into the vampire fold. The movie gets sillier as it goes along, and resorts to a routine action-movie showdown, but it's a visual knockout (featuring great cinematography by Michael Chapman) and boasts a cast that's eminently able (pardon the pun) to sink their teeth into the best parts of an uneven screenplay. --Jeff Shannon
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| Customer Reviews: Read 259 more reviews...
 people are strange May 24, 2009
Regis Oliveira (Curitiba, PR BR)
0 out of 1 found this review helpful
Back to the 80's, with subtitles in portuguese/BR and audio Dolby True HD in english. Nice Movie.
 Finding the Frog Brothers May 17, 2009
Ross Brodie
Finding the Frog Brothers
Brotherhood beyond blood in the `The Lost Boys'.
Franco Moretti wrote a critical theory essay about Bram Stoker's Dracula and Mary Shelley's Frankenstein. I was impressed by his observation that Dracula represented aristocracy and capitalism, whilst Frankenstein represented the proletariat - a body made of bodies, a labor force formed by a body of workers. Returning to vampirism, the vehicle for the film, `the Lost Boys' we see vampires continuing the tradition of extracting energy and resources.
Apart from the obvious sexual connotations of the vampire, many other themes have provided a universal appeal for consumers of this fiction; for me The Lost Boys is appealing because of the Frog Brothers.
The Frog Brothers, like the tribe of vampires, are isolated; outcasts of society because they are privy to taboo information. They are unconventional; as a teenager I was drawn to their world.
The Frog Brothers do not have a responsible guardian or parent. They are freely allowed to run the comic store as they see fit. They seemed beyond their years when it comes to cataloguing fictional genres, but Corey Feldman's character (Sam) corrects and questions their bureaucratic expertise. The Frog Brothers world is one of archive, monsters, magic, fictional devices delineating reality via the comic; yet the Brothers coolly, consciously campaign against the real threat of vampires, patiently amassing knowledge and storing it as popular culture. They are apprentices waiting impatiently for fiction to become reality. Their insider knowledge has value, but it is information regarded as `non-real' by the majority, by tourists and comic collectors visiting their shop. It is information that helps the Frog Brothers devise survival strategies.
Sam's mother Lucy (Dianna Wiest) works in a video store. The characters in the film are surrounded by an abundance of fictional commodities - underappreciated, later suggested as prophetic survival guides. I connect with the Frog Brothers because they use fictions as a means of survival in the banal world. Consumers of fiction would go crazy if they didn't have worlds to escape to. The added charm of the Brothers is that although they are empowered with specialist knowledge, they are at the same time incompetent, inexperienced, ignorant, arrogant, ineffectual, rude, cowardly and pretentious, making them interesting.
The Frog Brothers inhabit Santa Carla, a shady, partying resort, a place expanding and contracting with seasonal trends. This seasonality reflects nature and harvest; summer - fresh crops of humans. These themes suggest vampires are more than daemonic creatures enslaved by capitalism; they are natural components of an ecosystem. The tourists come and go, new residents arrive - migration, immigration, emigration. The last line of the film is spoken by the cantankerous grandfather, who sparks a cigarette and remarks on the local problem: `those damn vampires' stated with the matter of fact tone of someone complaining about ethnic minorities dislocating locals.
The Lost Boys has many hooks, used effectively during the `90s to enchant teenage audiences, the most notable being the soundtrack which has become a regular long player for students and thirty-somethings. The film also features motorcycle gangs, brooding sexuality, rebellious delinquency, a summer love, motor cars, pop culture for the post-slacker MTV generation, replete with leather jackets, rock and gore.
We have the relationship between the Lucy and the head vampire Max, who in classic vampire folklore remains an enigma, a hidden player manipulating the tribe whilst moving seamlessly amongst the humans. He is the ultimate vampire, like Dracula, master of the seductive discourse of capitalism. His function to subsume candidates into a family - linage, aristocracy, genetic appropriation; core components of the vampire and human sociology.
The Frog Brothers, unlike Van Helsing, are not in possession of all the facts. They validate their sketchy suppositions by conducting bizarre and awkward experiments inside the victim's household. They are merely imitators of specialist vampire exterminators. Despite the Frog Brothers incompetency, they energize the film with their manic rage: destroy all vampires. The love story of the vampires is inconsequential to their doctrine of total extermination, a diabolical idiocy.
The Frog Brothers do not have a discernible leader; it is hard to tell which one is the dominant one and which is the submissive. Edgar Frog talks more than the Alan Frog - Edgar is just a mouthpiece, but when we consider the Frog Brothers practicality the qualities of the `silent but deadly' brother, Alan, are rendered ineffectual, for Alan is as useless as the extroverted Edgar. Sam becomes a Frog Brother when he decides to manage the catastrophe of his family - he has nowhere else to turn, the people he thought were idiots (the Frogs) turn out to be allies, because they believe; they form the trinity - breaking thought boundaries of generic lineage - brotherhood beyond blood.
The duplicity of brotherhood; opposite the Frog Brothers: Sam and Michael, one vampire, one human, one condemned to nocturnal existence - a citizen of the underworld, servitude to the conditions of new genetics; the other ostracized from society because in the fantasy realm of the theme resort he sees the truth, is criticized for his revelations, chided for excessively consuming fictional commodities - surely only guilty of executing the logic of the system to its logical conclusion? Alas Sam's true knowledge is diagnosed as the condition of an overactive imagination. Only the animal is sympathetic, Nanook the dog, his breed chosen to approximate the spiritual wolf. Nanook understands - perhaps too well, he is a lycanthrope, his anthropomorphic character generous.
The Lost Boys is situated in a resort where the unimaginable becoming imaginable - the unimaginable proactive, the image of fantasy culturally acceptable. The rupture, the drama, occurs when vampires break the film of reality.
As mentioned earlier, the Frog Brothers do not have a parent of noticeable influence. Reciprocally Sam's mother Lucy is divorced but establishes a relationship with vampire leader Max. We have the idea of relocation, disruption caused by migration, also substitution of the father figure. Sam has experienced his parents' divorce, distrusts the father figure. The head vampire allows Sam to release stress, tension, bitterness created by the fragmentation of family. As a teenager I related to this.
The grandfather: antiquity, traditional values; does not have a television, reads the TV guide, knows what is on television, bypasses the culture machine, the commercialized, automated, programmed dream engine; knows reality is stranger than fiction, thus the choice of Echo and the Bunnymen's cover of the Door's `People Are Strange'- contextualizes `alien', `taboo', `repressed', not aberrant but normality. It is strange that society regards perversion as corrupt when repression is pathology. The Grandfather has experienced vampires; classic scripting: the monster not the threat, suppression of truth is. Young people are patronized when facts are withheld; maturity grows from enquiry.
The movie deals with the manifestation of repressed emotions - the disappointment and anger of Sam. He is alone, scared, in a foreign place, with the Frog Brothers - who are initially resistant but who then supply the method with which Sam finds emotional stability. The Frog Brothers could be brothers in any strange town - your town. Scared of moving on? There will always be Frog Brothers out there, to welcome you with aggravated countenances and fierce loyalty as you fight the vampires sucking off your family.
Lost Boys DVD Review April 28, 2009
Amy Sitsler (Rose, Ok USA)
0 out of 1 found this review helpful
I received The Lost Boys DVD in the exact condition that I was promised. And I enjoy it so much. This movie was excellent. I remember watching it when I was younger and watching it now brought back so many good memories. I will definitely buy from this seller again.
The Lost Boys March 1, 2009
M. Miller
0 out of 1 found this review helpful
This movie was just as good if not better than I remember. Wonderful flick!!
Best Vampire Movie I Have Ever Seen February 23, 2009
D. Meeker (USA)
This is, by far, the best vampire movie I have ever seen. I love the original story and the performances by the actors and actresses. My favorite actor in the movie was Kiefer Sutherland playing the leader of the vampire gang, David. The movie was not too gory and didn't have hardly any language. Final Rating=5/5
MPAA Rating: Rated R
My MPAA Rating: Rated R for violence, gore and language
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