---
title: "Interview with the Vampire"
year: 1994
kind: "film"
canonical: "https://film.one/film/interview-with-the-vampire"
fi1m_id: "interview-with-the-vampire"
imdb_id: "tt0110148"
tmdb_id: 628
wikidata_id: "Q318910"
fi1m_score: 79
critics_score: 65
critics_reviews: 7
published: "2026-09-13"
updated: "2026-09-18T08:38:17.362858+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Interview with the Vampire (1994)

Directed by Neil Jordan · 2h 03m · MPA R · Horror, Drama, Fantasy

## Identity

Interview with the Vampire

- **Canonical:** https://film.one/film/interview-with-the-vampire
- **Type:** Film
- **Fi1m ID:** interview-with-the-vampire
- **IMDb ID:** tt0110148
- **TMDB ID:** 628
- **Wikidata ID:** Q318910
- **Same entity:** https://www.imdb.com/title/tt0110148/, https://www.themoviedb.org/movie/628, https://www.wikidata.org/wiki/Q318910

**Fi1m score: 79** · Critics 65 from 7 reviews

*In a sentence:* Tom Cruise makes eternal damnation look less exhausting than sharing a home with Brad Pitt

> Neil Jordan’s gothic vampire drama is worth seeing for Tom Cruise’s malicious wit and Kirsten Dunst’s forceful presence. Its domestic quarrels are more compelling than its reflections on eternity, and the repeated bouts of remorse test our patience.

## Synopsis

Lestat (Tom Cruise) embraces existence as a vampire, while Louis (Brad Pitt) struggles with what it requires of him. Their relationship brings companionship, dependence and conflict, as Louis’s misgivings meet Lestat’s appetite for pleasure and control. Claudia (Kirsten Dunst), a child vampire, becomes part of their domestic life, adding another set of needs to a household whose members face the prospect of living forever. Neil Jordan directs Anne Rice’s adaptation of her novel, a horror drama about immortality, desire and the difficulty of sharing an existence that has no natural end.

## Review

Neil Jordan’s *Interview with the Vampire* is a good gothic drama that spends too long listening to its characters complain. We can forgive much of that because their efforts to live together are often funny and disturbing. Anne Rice adapts her own novel, and the interest lies in how Lestat and Louis manage to live together when they cannot agree about the business of being vampires. Jordan gives their quarrels enough feeling to make the domestic arrangements matter.

Tom Cruise understands the value of letting Lestat enjoy himself. His vanity and appetite for control make him unpleasant company, yet Cruise gives that unpleasantness enough humour to keep us interested. We laughed at the pleasure he takes in being monstrous, then felt slightly ashamed of ourselves. The performance makes his wish for domestic harmony seem particularly selfish: he wants companions, provided they can learn to enjoy things his way. It gives Jordan a useful source of comedy without asking us to forget what Lestat is.

Brad Pitt’s Louis has the harder job, carrying remorse through a film that keeps requiring him to express it. His unhappiness gives Cruise something to work against, but Pitt’s solemnity grows wearing when the writing offers another variation on the same complaint. Kirsten Dunst is more forceful as Claudia, giving the child vampire an anger that demands attention rather than sympathy. Her scenes bring a welcome sharpness to a household in which the adults can spend too long explaining how difficult everything is.

Dante Ferretti’s production design gives the gothic opulence enough detail to reward looking beyond the performers. Philippe Rousselot’s cinematography makes those surroundings feel oppressive, so that all the luxury offers surprisingly little comfort. Sandy Powell’s costumes make Lestat’s vanity easy to believe before Cruise does anything to help. The risk is that the rooms and clothes become more absorbing than the conversation, and there are passages when we would happily let the cast stop talking and inspect the place.

The editing by Mick Audsley and Joke van Wijk does not solve the repetition in Rice’s screenplay. Once Louis’s discomfort is clear, the film keeps making room for it, and some stretches need a firmer decision about how much melancholy is enough. Elliot Goldenthal’s music gives that sorrow weight, although its solemnity can prolong the mood when the drama needs to move on. Those repeated discussions leave Louis seeming less complicated as the film goes on.

As horror, the film works best when the relationships themselves become disturbing. The attraction between Lestat and Louis, and the demands of their shared life with Claudia, give vampirism consequences beyond the next victim. Jordan can be creepy and shocking, but anyone expecting a steady succession of scares will find long stretches given over to unhappiness and recrimination. Within the vampire genre, this attention to living with the condition is worth having, even when the dialogue about immortality offers little that their behaviour has not already told us.

This is an evening for viewers who enjoy horror with room for difficult company and uncomfortable affection. It runs 123 minutes and carries an 18, neither of which should be mistaken for a promise of constant shocks. Bring an appetite for gothic excess and a reasonable tolerance for someone else’s relationship problems.

*Fi1m score 79, published 13 September 2026.*

## What the critics say

Most critics respond warmly to Neil Jordan’s gothic vampire drama, with praise clustering around the performances and lavish production design. Tom Cruise’s Lestat is the main attraction: the reviews find humour, menace and sexual confidence in his pleasure at being monstrous. Kirsten Dunst’s Claudia also draws particular praise. The film’s treatment of immortality as a troubled domestic arrangement appeals to several critics, who find its melancholy and homoerotic tensions more interesting than straightforward scares.

The spread is wide, however, with disagreement over whether that melancholy sustains the drama or drains it. Sight and Sound finds effective horror despite weaknesses in the source material. The Independent admires the depiction of eternal ennui and the Claudia scenes but finds little excitement or emotional payoff. Time Out is more dismissive, judging the script repetitive and its philosophy banal, while conceding that the production design supplies some atmosphere.

## Straight answers

**Is Interview with the Vampire worth watching?**

*Interview with the Vampire* is worth watching for anyone who enjoys gothic horror built around difficult company, and we scored it 79. Tom Cruise's malicious wit as Lestat and Kirsten Dunst's fierce Claudia carry it, though Brad Pitt's Louis is asked to repeat the same remorse too often. Expect domestic quarrels between vampires rather than a steady run of scares.

**How long is Interview with the Vampire, and what is it rated?**

*Interview with the Vampire* runs 2h 03m and is rated R by the MPA in the US. It is a horror and drama film.

**Where can I watch Interview with the Vampire in the US?**

*Interview with the Vampire* is streaming on HBO Max, Hulu, The Roku Channel and Amazon Prime Video in the US, and it is also available to rent from Amazon Prime Video from $5.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Interview with the Vampire, and is it suitable for children?**

*Interview with the Vampire* carries an 18 certificate in the UK and an R in the US, and it is not suitable for children. Neil Jordan can be creepy and shocking, and the film's horror lies in the relationships as much as the killings, with a child vampire at the centre of an uncomfortable household. Long stretches are given over to unhappiness and recrimination rather than gore.

**How does Interview with the Vampire compare to Let the Right One In?**

*Interview with the Vampire* and [*Let the Right One In*](https://film.one/film/let-the-right-one-in) both make a vampire's companionship troubling, but they are very different in scale. Jordan's film is a lavish gothic melodrama about immortals quarrelling in opulent rooms; Tomas Alfredson's is a quiet, wintry story of a bullied boy's friendship. We rate the Swedish film more highly for its tenderness and restraint, while Jordan's suits viewers who want excess and Tom Cruise's wit.

**Is Interview with the Vampire based on a true story or a book?**

*Interview with the Vampire* is based on Anne Rice's novel of the same name, not on a true story. Rice adapted her own book for the screen, and Neil Jordan's film keeps its interest in how Lestat, Louis and Claudia manage to live together with no natural end in sight. You need not have read the novel to follow it.

**What should I watch after Interview with the Vampire?**

After *Interview with the Vampire*, try [*Let the Right One In*](https://film.one/film/let-the-right-one-in) (2008, Fi1m 88): For a child’s loneliness made more troubling by the possibility of companionship. Then [*Only Lovers Left Alive*](https://film.one/film/only-lovers-left-alive) (2013, Fi1m 81): For vampires who have had centuries to develop some demanding domestic habits.

### Reviews we read (9)

- **Empire**, Mark Salisbury (80/100, inferred): The critic sees the film as a morbidly fascinating domestic drama of immortality and a homoerotic yarn, hailing its gothic production design splendour and strong performances (especially Cruise's malevolent grace) that make it an unlikely feast compared to other lavish vampire adaptations. [Read](https://www.empireonline.com/movies/reviews/interview-vampire-vampire-chronicles-review/)
- **The Guardian**, Peter Bradshaw (80/100, inferred): The critic finds Neil Jordan’s horror-comedy an outrageous yet entertaining bromance that explores the complex lived experience of vampirism. Cruise delivers a hilarious, scene-chewing performance as Lestat while Dunst stands out as Claudia. [Read](https://www.theguardian.com/film/2024/feb/15/interview-with-the-vampire-review-tom-cruise-brad-pitt-kirsten-dunst-antonio-banderas)
- **Sight and Sound** (70/100, inferred): The film is as strong as could be expected given weaknesses in the source material. Jordan achieves moments of creepiness and shocking horror, and Cruise delivers a fine performance as a narcissistic monster who relishes being one. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/it-refreshing-find-screen-vampire-who-relishes-being-monster-interview-with-vampire-reviewed-1995)
- **The Independent**, Adam Mars-Jones (40/100, inferred): The critic finds the film melancholy and bloodless rather than scary or funny, with a sophisticated take on vampirism as curse or lifestyle but an overall mood that dampens excitement and thrills. Jordan excels at capturing eternal ennui over cheap genre shocks, with strong scenes involving the child vampire Claudia but limited erotic or emotional payoff. [Read](https://www.independent.co.uk/arts-entertainment/deathless-ruthless-and-bloodless-1568721.html)
- **Time Out**, GA (30/100, inferred): Jordan's adaptation is a disappointment that is neither scary nor engaging, and is instead dull and conventional. The script is dramatically repetitive and philosophically banal, though the production design provides some atmosphere. [Read](https://www.timeout.com/movies/interview-with-the-vampire)
- **The New York Times**, Janet Maslin: The critic finds Jordan's film a sophisticated and spookily intense rendering of Rice's story that is as strange and mesmerizing as it is imaginatively ghastly. Cruise's fiery, mature sexual magnetism as Lestat is singled out for praise. [Read](https://www.nytimes.com/1994/11/11/movies/film-review-interview-with-the-vampire-rapture-and-terror-bound-by-blood.html)
- **The Times**, Kevin Maher (★★★★☆): Neil Jordan’s lavish vampire movie showcases Tom Cruise’s versatile, pansexual delight as Lestat seeking domestic harmony with Pitt’s Louis and Dunst’s Claudia. Dunst’s fiery performance is highlighted as the standout. [Read](https://www.thetimes.com/culture/film/article/interview-with-the-vampire-1994-film-review-tom-cruise-is-a-delight-ltn6dx07f)
- **Collider**, Isabella Soares (A-): The critic finds the film an exquisite analysis of immortality and the danger of wishing for eternal youth and beauty. She singles out the strong performances, particularly the dynamic between Cruise and Pitt, and the script's ability to make viewers empathize with the monstrous characters. [Read](https://collider.com/interview-with-the-vampire-review-brad-pitt-tom-cruise/)
- **Den of Geek**, Robert Mclaughlin (4/5): The critic calls the film one of the best vampire movies of the past twenty years and praises its opulent gothic production design, strong ensemble cast (especially Tom Cruise as Lestat and a young Kirsten Dunst as Claudia), and subtle make-up effects. They single out the detailed sets, costumes, and visual textures for particular praise while noting the Blu-ray edition itself is a lazy re-release. [Read](https://www.denofgeek.com/movies/interview-with-the-vampire-blu-ray-review/)

## Details

- **Director:** Neil Jordan
- **Director:** Neil Jordan
- **Screenplay:** Anne Rice
- **Novel:** Anne Rice
- **Cinematography:** Philippe Rousselot
- **Editor:** Mick Audsley, Joke van Wijk
- **Music:** Elliot Goldenthal
- **Production design:** Dante Ferretti
- **Costume design:** Sandy Powell
- **Producer:** David Geffen, Stephen Woolley
- **Cast:** Tom Cruise as Lestat; Brad Pitt as Louis; Antonio Banderas as Armand; Christian Slater as Malloy; Stephen Rea as Santiago; Kirsten Dunst as Claudia; Domiziana Giordano as Madeleine; Thandiwe Newton as Yvette
- **Runtime:** 2h 03m
- **Certificate (MPA):** R
- **Release (the US):** 11 November 1994
- **Genres:** Horror, Drama, Fantasy
- **Budget:** $60 million
- **Box office:** $224 million
- **Trailer:** https://www.youtube.com/watch?v=qmFYu8x46VY

## Where to watch in the US

- HBO Max: streaming
- Hulu: add-on, hd
- The Roku Channel: add-on, hd
- Amazon Prime Video: add-on
- Amazon Prime Video: rent $5.99, hd
- Amazon Prime Video: buy $14.99, hd

*Checked 2026-09-13.*

Also available in: AT, AU, BE, BG, BR, CA, CL, CO, CZ, DE, DK, ES, FI, FR, GB, ID, IE, IN, IT, LT, MX, NL, NO, NZ, PH, PL, PT, RO, RS, SE, US. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 1995: Best Original Score (nominated); Best Production Design (nominated)

## If you liked this

- *Nosferatu the Vampyre* (1979): For a colder, stranger encounter with vampirism and the prospect of eternity.
- *The Hunger* (1983): For desire, luxurious rooms and immortality that proves difficult to manage.
- *Let the Right One In* (2008), Fi1m 88: For a child’s loneliness made more troubling by the possibility of companionship. — [Fi1m page](https://film.one/film/let-the-right-one-in.md)
- *Only Lovers Left Alive* (2013), Fi1m 81: For vampires who have had centuries to develop some demanding domestic habits. — [Fi1m page](https://film.one/film/only-lovers-left-alive.md)
- *The Innocents* (1961): For oppressive rooms, unsettling children and horror that does not need constant commotion.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/interview-with-the-vampire