Nerdly » ‘Drained’ VOD Review #2

17th Mar2025

‘Drained’ VOD Review #2

by Kevin Haldon

Stars: Ruaridh Aldington, Angela Dixon, Craig Conway, Madalina Bellarui Ion, Andrew Lyle-Pinnock, Natasha Patel, Andrew Lee Potts | Written by Peter Stylianou | Directed by Peter Stylianou, Sean Cronin

Drained, directed by Sean Cronin and Peter Stylianou, is a vampire flick that sinks its teeth into the jugular of toxic relationships, addiction, and the perils of living with your mum in neon-drenched London. It’s a film that asks the age-old question: what happens when you fall for a mysterious woman who turns out to be a vampire?

Spoiler alert: the answer involves a lot of blood, questionable life choices, and a surprising amount of emotional heft for a movie that occasionally feels like it was shot on a budget of £150 and a pissed-up fever dream. Let’s dive into this gloriously messy, surprisingly poignant, and intermittently hilarious horror romance, shall we?

Thomas (Ruaridh Aldington), is a jobless “artist” who’s less “starving” and more “mooching off Mum while sketching moody cartoons and wanking himself into oblivion in his bedroom.” He’s the kind of guy who thinks he is one viral post away from landing him at Dark Horse Comics, but in reality, he’s more likely to land on his mum’s bad side for forgetting to take out the bins. His life is a beige blur of self-loathing and existential dread—until he meets Rhea (Madalina Bellariu Ion), a sultry, mysterious woman at a club who looks like she stepped out Jake Wests Razorblade Smile and into a neon-soaked London.

Rhea, it turns out, is a vampire. Not the sparkly, brooding kind, mind you, but the “I need your blood to survive, and also I’m kind of using you” kind. Thomas, being the lovable loser he is, falls head over heels—or perhaps vein over vein—for her. Their romance spirals into a toxic, codependent mess, with Thomas willingly letting Rhea feed on him because, apparently, being needed by a vampire gives him the warm fuzzies. It’s like Twilight meets Trainspotting, with a dash of Only Lovers Left Alive for the artsy crowd, but somehow less pretentious and way more… British… Like waaay more British.

Ruaridh Aldington’s Thomas is the beating (and bleeding) heart of the film. He’s a bit of a revelation, managing to make Thomas both infuriatingly pathetic but genuinely sympathetic. You want to shake him and scream, “Get a job, mate!” but you also want to give him a hug and a cuppa. Aldington nails the deer-in-headlights energy of a man who’s so desperate for connection that he’ll let a vampire drain him dry—literally and metaphorically. His performance is especially impressive in the film’s later acts when Thomas starts looking like he’s auditioning for The Walking Dead. The guy’s emotional desperation is palpable, and his descent into physical and financial ruin is both heartbreaking and darkly hilarious.

Madalina Bellariu Ion’s Rhea is equally captivating, though she’s more enigmatic by design. She’s alluring, scary, and occasionally sympathetic, walking a fine line between predator and tortured soul. Ion plays Rhea with a cold, no-nonsense edge that makes it clear she’s not here for romance—she’s here for the blood, specifically Thomas’s, which apparently has a special zing to it. Their chemistry is electric, but it’s also deeply dysfunctional, like watching a car crash in slow motion. You know it’s going to end badly, but you can’t look away.

The supporting cast is solid, if underutilized. Nerdly fave Angela Dixon as Thomas’s mum is a delight, serving up passive-aggressive mum energy with a side of “I’m dating the local exterminator, deal with it.” Craig Conway as said exterminator, John, brings a gruff intensity that feels like he wandered in from a Guy Ritchie film. Natasha Patel and Andrew Lee Potts pop up as detectives who seem to have stumbled into the wrong movie, but their scenes do add a bit of intrigue, even if they feel slightly out of place.

Drained isn’t a comedy, but it’s packed with moments that did make me laugh out loud—some intentional, some accidental. Thomas’s early scenes, where he’s masturbating in his bedroom and ignoring his mum’s new boyfriend (not the same scene I may add), are pure cringe comedy gold. It’s like watching a British sitcom character stumble into a horror movie, and Aldington leans into the awkwardness with much gusto.

Then there’s the vampire logistics, which are both inventive and slightly absurd. Rhea can fly, move super-fast, and walk around in daylight (as long as it’s cloudy, because, you know, London), but she prefers to feed from arms rather than necks like she’s ordering a bespoke blood cocktail. Thomas gets a euphoric buzz from being bitten, which leads to some hilariously awkward moments where he’s practically begging her to chomp on him. It’s a brilliant twist on the vampire trope, turning the act of feeding into a metaphor for addiction and codependency. The title Drained is a perfect pun—not only is Rhea draining his blood, but she’s also draining his bank account and his will to live. Chef’s kiss.

The film’s low budget occasionally rears its head, leading to some unintentionally funny moments. The special effects, particularly in the final act, are a bit ropey, for instance towards the end we see a transformation and someone flies off into the night—this might provoke more giggles than gasps but somehow, it’s endearing. You can tell the filmmakers were stretching every penny, and while it doesn’t always land, the effort is admirable.
Beneath the blood and bites, Drained is a surprisingly thoughtful exploration of toxic relationships. Thomas and Rhea’s romance is a mutual addiction—he’s hooked on the validation of being needed, and she’s hooked on his blood. It’s not a typical vampire romance where the vampire pretends to be in love; Rhea is upfront about her needs, and Thomas is just too lonely to care. It’s a refreshingly honest dynamic, and it makes their inevitable downfall all the more tragic.

The film also beautifully captures the dreary, neon-lit vibe of London. The cinematography, courtesy of Daniel Patrick Vaughan, makes the city feel both seductive and oppressive, like a playground for vampires and lost souls. The soundtrack, with its moody electronic beats, adds to the atmosphere, though it occasionally feels like it’s trying a bit too hard to be cool when honestly, it doesn’t need to be.

Drained is a flawed but fascinating indie gem. It’s smart, alluring, and occasionally tragic, with standout performances from Aldington and Ion. The film’s exploration of codependency and addiction is compelling, and its fresh take on vampire tropes is commendable. Sure, the pacing drags a bit towards the end, and the low-budget effects can be distracting, but for most of its runtime, it’s a well-crafted, entertaining ride.

If you’re a fan of indie horror, vampire flicks, or stories about messy relationships, Drained is worth a watch. Just don’t expect a polished Hollywood production—this is a scrappy, passionate film that wears its heart (and its blood) on its sleeve. And if nothing else, it’ll make you think twice before swiping right on that mysterious stranger at the club. You never know—they might just be after your blood.