When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

As somebody who had not heard any of this before, it became a curious phenomenon to sit and watch a film and slowly have the realities begin to click into place.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

The film may be flawed, but its message is not.

Below is the first paragraph of my review of another genre-breaking film, Robin Campillo's Les Revenants (2004): My memory of the 1979 Australian film Thirst turns on a single misleading image: blood in milk cartons on supermarket shelves. Well-heeled shoppers push carts to and fro down spic-and-span aisles. Though the film's creators hadn't the nerve, or perhaps the imagination, to carry through -- their vampires are conventionally dangerous since the blood in the cartons is human -- that image broke genre. It suggested a maligned, maybe ghettoized yet worldwide minority not just making do but thriving. To analogize any of several possible real world minorities would be wrong, considering where the film goes. But if Thirst were newer, we'd wonder, is the blood in the cartons artificial, created humanely in a lab? Is it vampire "soy milk"? Are these vegan vampires? Whatever the answer, in that supermarket image Thirst's vampires are us. They're no more horrific than we are. The genre collapses.

Thirst starts with a strong minded career woman named Kate Davis (Chantal Contouri) rising from a coffin in a crypt of some sort in typical Gothic horror fashion. On the soundtrack two voices can be heard, a Dr. Barker (Shirley Cameron, the IMDb listing is definitely wrong as her character's name is Mrs. Barker not Mrs. Cameron which is obviously her real name) & a Mr. Hodge (Max Phipps) who talk about Kate's conditioning & that she is a completely different woman from that of a week ago... Thirst then cuts back to presumably a week ago when Kate was just an normal Australian living a normal life who is about to take an extended holiday on her own as unfortunately her architect boyfriend Derek Whitehall (Rod Mullinar) is too busy at work to join her. However the morning Kate is due to leave she is kidnapped by the Hyma Brotherhood who are a secret sect of modern day Vampires who regard themselves as a superior race gaining power & youth from drinking blood. Kate is taken deep into the Australian outback to a complex where the Brotherhood are based, known as the farm there are no cattle or crops, just people. Kate is told by Dr. Barker that her Great Great Grandfather was a direct descendant of Countess Elizabeth Bathory & that she must accept her ancestral blood drinking heritage, at first Kate is understandably reluctant to believe what she is being told & thinks everyone is crazy. The Brotherhood feel it's essential for Kate to accept her heritage so Dr. Barker, Dr. Gauss (Henry Silva) & Dr. Fraser (David Hemmings) devise a programme of conditioning to convince Kate that she is indeed a Vampire who must drink blood. At first Kate refuses to give in to the Brotherhoods tactic's but how long can she hold out with the constant bombardment of brainwashing?This Australian production directed by Rod Hardy is in my opinion is as dull as dishwater & didn't really do a thing for me. I have to give the filmmakers credit for trying something different even if the end result is less than spectacular. The script by John Pinkney mixes some of the traditional Vampire cinematic themes such as fangs, blood drinking & glowing red eye's with new ideas like the farm where humans are kept like livestock, bleed through special hi-tech machinery & scientifically checked for disease before it is packed into milk cartons & shipped out to other Vampires all over the world. Unfortunately the main problem with Thirst is that is just so slow, boring, dull & at 90 minutes far too long & drawn out. Thirst never explained why the Brotherhood wanted Kate to join them & become a Vampire so badly, was it just so Hodges could have sex with her & merge the two families together as mentioned at the end? If so why just not have sex with her against her will? Or have sex with her even if she isn't drinking blood? They put an awful lot of time & effort into conditioning Kate to become a blood drinking Vampire for no good reason as far as I could make out. One more thing, why wait until now to condition Kate? Why not years earlier in her life while she was still vulnerable before she had fully developed her personality & career? There are a couple of good sequences in Thirst like the tour around the factory where the humans are bleed & Kate's shower of blood is decent for a cheap thrill I suppose. I also have to mention the so-called twist ending which I figured out a long time before I actually had to sit through it. There's not much blood or gore in Thirst, half a mangled face, some neck biting & a few jars of blood is about it. The acting is pretty good throughout, maybe the acting was the best thing about Thirst in fact. Tecnically the film is OK, the cinematography is adequate despite what many say & just because a film is shot in scope doesn't automatically make it brilliant. There is a funny scene when an old woman listed as blue rinse lady (Paddy Burnet) bites someone on the neck during some sort of ceremony, she looks like cross dresser Barry Humphries in his Dame Edna Everidge costume, now that's scary folks! Overall Thirst definitely has some interesting ideas which are wasted in this dull, boring & tedious horror film, I'll take Christopher Lee as Count Dracula in one of Hammer's fine period horror films over this confused mix of ideas that seem to have just been haphazardly thrown together. One to avoid unless your an insomniac.

An Aussie vampire film? Never would have thought. Not to denigrate my country's film industry, but ... well, it's not known for producing bloodsucker flicks. The exception is this little oddity, released in 1979 and now hidden away in the 'horror' section of video stores across the country.Having heard of the film for several yrs, and seen the cover at my local video store (Chantal Contouri drenched in gore), I decided to check it out. The result: one of the most genuinely horrifying films to emerge from Australia in recent decades. Not horrifying in the sense of 'The Delinquents', where it's horrifyingly bad and let's just sit back and have a good laugh. I am talking, this film is a recorded bad dream. Reality and nightmare blur, blood spurts, and Amanda Muggleton sneers as one of our screen's most genuinely evil villains. Contouri was fantastic, too, as the hapless young woman abducted and brought to a blood farm and made to honour her ancestor, Elisabeth Bathory - bloodsucker extraordinaire, and the figure at the heart of those other 70s horror films 'Countess Dracula' and 'Daughters of Darkness'. The scene where she sprouted fangs and kills a colleague really jolted this horror movie afficionado.Visually, the film has dated: the hairstyles are tres out-of-date, and the colour cinematography was reminisce of those chocolate commercials I grew up watching on TV as a young boy in Melbourne. Problems also lay in the script's lack of depth. There was no psychological make-up to the characters, they had no history - and this made it very hard to relate to them on an emotional level (Contouri's character in particular). Nevertheless, this is an intriguing and eerie film that will appeal to fans of Australian cinema and horror films alike.

Interesting, ambitious take on vampire horror stories is good - if you get past the 70's music and porn-style hair+moustache!! Chantal Contouri is a wealthy young woman who is told she comes from a strong family of vampires...enter a BRAVE NEW WORLD-type scenario in which subjects "donate" blood, which is packaged in milk cartons and delivered to all the vampires living in the outside world. It's overlong, and overdramatic for such a story, but it's worth a look all the same - genre fans should enjoy it, as should fans of Australian film: this was definitely a landmark, as most films released by this country during the late 1970s were either "ocker" (BARRY McKENZIE, ALVIN PURPLE) or "quality" (PICNIC AT HANGING ROCK, BACKROADS, DEVIL'S PLAYGROUND). Of course, MAD MAX was released in the same year. Rating: 6/10.