OnlyFangs
Director: Angelica De Alba, Paul Ragsdale
Date Created: 2025-10-18 19:25
2
Pros
- Intentional camp that commits
- Strong core concept
- Cast chemistry carries uneven material
- Visual aesthetic is cohesive
- Feminist-ish rage
Cons
- Excess strangled by lack of editing
- Social media montage fatigue
- Tonal whiplash
- Feminist messaging muddied
- Film Title: OnlyFangs (2025)
- Cast: Kansas Bowling (Reese), Drew Marvick (Wes), Nina Lanee Kent (Scarlett), Nick Zagone (Harvey), Jessa Jupiter Flux (Gwen), Ellie Church (Penelope), Adriana Uchishiba (Selena), Derek Johns (Eli), and ensemble
- Directors: Angelica De Alba, Paul Ragsdale
- Writer: Paul Ragsdale
- Cinematographer: Dan Zampa, Kansas Bowling
- Production Company/Distribution: A & P Productions
- Release Date: October 18, 2025 (limited theatrical); now streaming free in USA and other regions
- Review by: Mother of Movies
Spoilers ahead — including the ending This review discusses specific scenes and how OnlyFangs resolves. If you haven’t seen it yet and want to go in completely fresh, bookmark this and come back.
Only Fangs is a campy vampire satire that understands the assignment but forgot to edit itself. It’s purposely absurd (I think), proudly B-movie, and so stuffed with montages and spectacle that by the halfway point you’re wondering why this needed two hours. The film has an inventive core, vampires as a social media empire, feminist rage dressed in bite marks and seduction. But it’s strangled by its own excess, like a script that no one had the editorial courage to trim.
Your first instinct watching this is to ask: Why is this 120 minutes? The answer becomes clear almost immediately. Directors Angelica De Alba and Paul Ragsdale, along with writer Ragsdale, have made a film that embraces every unrestrained impulse without restraint. The cast, particularly Kansas Bowling as Reese and Drew Marvick as Wes, loved this aspect of it. You can feel it. A creative team that loved every idea too much to cut anything. Every series of mock news, advertising, dance routine, reaction segment, photo shoot and kill scene stayed. All the OTT moments are included. The result is a film that operates on pure, unfiltered enthusiasm, which is both its greatest strength and its most exhausting weakness.
Should You Watch OnlyFangs? A Verdict for Genre Fans
The premise works. Scarlett (Nina Lanee Kent) leads a vampire collective that’s monetised seduction through Only Fans-adjacent platforms. They’re selling experiences, bite packages, the full vampire fantasy to a paying audience. Its corporate satire wrapped in gothic aesthetics, and when the film leans into that angle, it crackles. But then it doesn’t stop. The social media sequences pile on relentlessly. Titty shots. User reviews. Hater comments. Camera clicks. Each sequence feels like the filmmakers discovered a new editing technique and decided to use it six times in a row. There’s no reprieve. The tone never breathes.
Nick Zagone’s Harvey, the head vampire who opens the film, gives a laugh out loud performance, until I wasn’t sure it was supposed to be funny. He’s seductive in the most uncomfortable way, and when he sits next to Reese and places his hand on her leg with a skeeze-lord “you owe me” energy, the scene is meant to be predatory and horrifying. Instead, it’s unintentionally hilarious. It’s both, and neither which is part of what makes OnlyFangs so frustrating to watch.
The violence, what little you actually see of it, is announced rather than shown. Characters lean in. They promise death. Cut to aftermath. Blood. Gore is implied in early parts of the film. But later, a rubber prosthetic is bitten off during a seduction, and the blood spray is so reminiscent of pornography that the “kill all men” sentiment the film is ostensibly championing gets completely muddied. It’s meant to be revenge. The filmmakers seem to have lost the thread between social commentary and gratuitous imagery. Or maybe this was intentional. I couldn’t tell.
The dialogue is tedious when it’s not absurd. Wes is a monster hunter who gets pulled into this vampire collective. The exchanges between him and Reese feel written by committee, everyone adding their joke, no one editing for coherence. The 80s glam rock score gets a pass because it’s committed to the aesthetic. But then the music swaps to softer tones in the second half, and the soundtrack cohesion collapses entirely. Like the film itself, the score couldn’t decide what it wanted to be either.
Who Is OnlyFangs Actually For?
Is Only Fangs worth watching? If you’re a fan of low-budget genre cinema, high on camp, and B-movies that swing for something bigger than their budget allows, yes. The concept is strong. The cast is engaging, even when the material doesn’t serve them. There are flashes of something approaching cult appeal. But it needed editing. Disciplined, ruthless editing. By the halfway mark, you realise this could have been a genuinely cool little flick if someone had trimmed 30 minutes and focused on the good bits. Instead, it’s an undisciplined, exhausting, occasionally fun mess that mistakes excess for ambition.
The ending has Reese and Wes living their best lives while Scarlett (who wins the vampire hierarchy clash against Harvey) heads off with her recruits to take down “the enemy”, whoever that is. The film never quite clarifies what the actual stakes are. But that’s almost fitting. OnlyFangs doesn’t need clarity. I guess.
Verdict & Rating “OnlyFangs”
Only Fangs is rated
2 Two Hours of Yes, Zero Hours of No out of 5
Nerdly.com rated this one a little more favorably. with 3.5 out of 5. Read more from them here.
Campy Chaos Without the Scissors
Only Fangs is intentionally absurd and proudly chaotic, but it mistakes excess for ambition. The core idea is strong, the cast is committed, and there are flashes of cult appeal. It just needed someone brave enough to edit.
Indie B-Movie Vampire Films Streaming Free
Need more? Films like Only Fangs are:
- Vamp (1986) — Early vampire satire that understood camp doesn’t mean no discipline. Seduction, neon aesthetics, and actually knows when to end a scene.
- Fright Night (1985) — Vampire horror-comedy that balances scares with proper laughs. Tonal control is tight; excess is earned, not indulgent.
- Bite Me (2019) — Rom Com and Vampires united in B-Movie madness.
- Near Dark (1987) — Vampire road movie with style and bloodlust. If you want vampires treated with gothic seriousness instead of social media spectacle.
- Night Teeth — (2021) These supernatural fanged beings sparkle too.
- Midnight Kiss (2019) — Low-budget indie vampire film that embraces camp without losing focus. Similar energy, tighter execution.
- Bloodsucka Jones VS. The Creeping Death (2017) — Indie vibes with Vampires and weed.
