The big idea of the first film, that Dracula turns out to be Judas Iscariot, is downplayed here but not taken back. Under orders from a cameo cardinal (Scheider), Uffizi tracks them down and arrives just as the monster’s influence has thoroughly corrupted his captors.
New characters are introduced at the morgue where the body is taken and a nearby university, and the bulk of the film takes place in large, abandoned Eastern Bloc-style settings (a ruined mansion and a swimming pool) where crippled lecturer Lowell (Craig Sheffer), his medical examiner girlfriend Elizabeth (Diane Lee), a sinister Englishman (John Light) and some disposable students keep the barely-revived monster (Stephen Billington) strapped down as they probe his blood in an effort to isolate the curative properties of vampirism, unwisely neglecting the inherent spiritual evil. Then, we pick up where the earlier film began with Dracula burning at sunrise. In a neat, tiny moment, we have just long enough to glimpse the woman’s reflection in a window and assume the filmmakers have made a boo-boo before it turns out that Uffizi is dealing with a brace of lookalike vampires, nostalgically labelled the Twins of Evil in the end credits. It doesn’t wind up with a MATRIX RELOADED-style ‘to be continued’ caption, but is very much an instalment in an ongoing series, expending most of its plot on an elaborately resurrection of an arch-villain who is only unleashed near the finale.Īn introductory sequence pulls a reversal as a man in black (Jason Scott Lee) who resembles the Dracula of DRACULA 2000 stalks a white-clad woman (Jennifer Kroll) around a Czech street but turning out to be vampire-hunter Father Uffizi pursuing one of the undead. Like the SUBSPECIES saga, Dimension stretches the budget with cheap Romanian locales (perversely, passed off as New Orleans rather than representing Transylvania) and making two sequels back-to-back.
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Though shot by Doug Milsome ( FULL METAL JACKET) in 2.35:1 widescreen, as showcased on the DVD release, it’s essentially a direct-to-video effort.
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Given that DRACULA 2000 owed so much to Hammer’s DRACULA AD 1972, it’s apt that it should turn out to be the first Dracula movie in three decades not only to yield a sequel (using the plot that was the original story outline for DRACULA 2000) but to become the fountainhead of a franchise. Stephen Billington, Dracula II Ascension (2003)
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