Martin (also known internationally as Wampyr) is a 1977[2] American horror film written and directed by George A. Romero, starring John Amplas.

Martin sedates a woman with a syringe full of narcotics, rapes her, slices her forearm with a razor blade, then drinks her blood, allowing her to slowly bleed to death.

One Sunday after church, Cuda brings home Father Howard, asking about the possibility of exorcism and demon possession.

Christina, becoming increasingly frustrated by her disagreements with Cuda, ultimately moves out of his house to live with her boyfriend Arthur, and bids Martin goodbye.

Cuda, who has learned of Abby's death, believes Martin to be her killer and fatally stakes him through the heart before burying him in a backyard flower bed.

Radio callers inquire and speculate about "The Count" while Cuda places a small crucifix atop Martin's grave.

They are beasts we've created in order to exorcise the monster from within us...I tried to show in Martin that you can't just slice off this evil part of ourselves and throw it away.

[12] The final version of the film as it was released is in color, with only Martin's fantasy and dream sequences presented in black-and-white.

[12] Similarly to Romero's Dawn of the Dead, Martin was edited for the European market by Dario Argento and released in 1978 under the title of Wampyr.

Its consensus reads, "George A. Romero's contribution to vampire lore contains the expected gore and social satire -- but it's also surprisingly thoughtful, and boasts a whopper of a final act.

"[18] On Metacritic, the film has a weighted average score of 68 out of 100, based on 9 critics, indicating "generally positive reviews".

[19] A review published by The Austin Chronicle noted: "Martin is relentlessly downbeat and has a molasses pace, but is nonetheless worthwhile to watch if you're in the mood for an uncomfortable, depressing Romero-style take on the vampire legend.

"[20] Variety staff wrote: "Pittsburgh-based auteur George A. Romero is still limited by apparently low budgets.

"[21] Jonathan Rosenbaum of the Chicago Reader called the film "quasi-comic", and added that it "remains his artiest effort, and in some respects his most accomplished work.

Judith Martin of The Washington Post criticized the film's depiction of violence as well as the critical assessments regarding the film's underlying themes (such as alienation and satire of the literary vampire), writing: "Martin is pretentious in a way that pornography is when it is dressed up for people who don't want to admit to their taste.

"[25] In the early 2010s, Time Out conducted a poll with several authors, directors, actors and critics who had worked within the horror genre.

[26] British synth pop/avant-garde band Soft Cell wrote a 10:16 song entitled "Martin" inspired by this film.

"[28] Jez Winship authored a monograph entitled Martin, an analysis on the film published by Electric Dreamhouse.