That the film works so well is a testament to Schumacher’s pop sensibilities, his slick production design and an iconic soundtrack — Echo & the Bunnymen’s version of People Are Strange is a majestic way to begin a movie.

The Lost Boys, in its artless way, asks us to consider that being for ever young isn't a sweet Edwardian evocation of innocence, but a vision of pure hell, like vampirism.

Schumacher falls far short of the talent for pop wit that Joe Dante showed in Gremlins and The Howling.

While the cast is fun, Schumacher is predictably at his best when The Lost Boys is a vibe check, aestheticizing vampires into an ’80s fashion ideal as they race their motorcycles down the beach, power ballads wailing into the night.