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There’s almost nothing filmmakers can’t do with the vampire genre. Whether it’s setting it in an old abandoned castle or in a high school filled with the walk-offs from The O.C., it’s a genre that has virtually endless opportunities in terms of story, characters and setting. Enter Night Kaleidoscope, a Scottish neo-noir vampire detective story, that’s sadly not anywhere near as interesting as that description would imply.
The idea of the cinema gimmick is not a new thing. Gimmicks were popularised in the 1960’s by William Castle, who became a cinematic icon through his series of horror films that employed in-cinema gimmicks such as electrified chairs and rubber puppets in order to entice audiences to check out his latest shlock horror film.
It’s not often that a movie tells a new story, but The Promise illuminates one long shrouded by political pressure. Turkey, the successor state to the Ottoman Empire, refuses to recognize the killing of 1.5 million Armenians by the Ottoman government during World War I as a genocide, and in an effort to maintain good relations, several governments have carefully sidestepped the term as well.
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