His vision contributed to the conversion of the mythological creatures into the subject of a more postmodern storytelling funhouse (see: What We Do in the Shadows), and was also the biggest hit of his filmmaking career, then a decade old. We also did not yet have Twilight or True Blood, and vampires were largely understood as “tortured Victorian heroes,” as Blade II director Guillermo del Toro called them. The Marvel Cinematic Universe had not yet been established when it came out, as Hollywood was still gauging people’s appetite for the stuff. The legacy of Blade II, and Blade before it, is not often discussed, but it’s easy to see it as a watershed movie for two since-exploded genres: comic book and vampire movies. “Like my daddy said, right before he killed my mom,” he says, “if you want anything done right, you’ve got to do it yourself.” By the time Reinhardt thinks he has Blade dead to rights, holding his own sword against him in the movie’s climax, he is delivering a bit of backstory that you just know is going to make his death that much sweeter. The more Reinhardt gets under your skin, the grander his exit from the living has to be, and Blade II is a movie that leaves little doubt about whether it can deliver.
The man had it coming on sight, and just kept digging himself into a deeper hole with each of his disrespectful little jabs-“jefe,” he calls our hero “honky tonk,” he calls his best friend, Whistler. Wesley Snipes, portraying Blade in Blade II, changed Hollywood forever by catching a pair of Oakley sunglasses without even looking over his shoulder.īlade has just killed Reinhardt, a sassy bald goon played by Ron Perlman who has been annoying him for the whole movie.
This moment was so cool that it caused industrial ripple effects that are still ongoing. A comic book movie that predated a tidal wave of them set a new ideal, of both aesthetic and attitude. In 2002, a certain image of coolness was born.
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