over his entire face to help conceal those four prosthetics. This was the same process used in the original Subspecies film, although Toth and Cabrera admit to tweaking the coloring of Radu's skin. One major change to the make-up process was to Radu's hands. In the original film, Hove had to wear individual appliances on each of his fingers, but to cut back on the time needed to apply the make-up, Toth and Cabrera created a pair of prosthetic gloves that Hove could slip on his hands. For "Mummy", Radu's sorceress mother, a headpiece was cast from Pamela Gordon, which included her shoulders as well. After the make-up was applied to give the cast a "dry" and "mummified" appearance, it was slipped over Gordon's head leaving only her face showing. From there, Toth and Cabrera applied a separate face prosthetic. The facial appliance gave Gordon near zero visibility, having only a single eye slit for her left eye. The crew had to escort her around sets so that she would not injure herself. Gordon was given a pair of dentures to wear, as well as some prosthetic gloves similar to what Hove wore. The rest of Gordon's body was draped in clothing to conceal it. Reception Culture Cartel critic Mike Bracken believed the story was "largely clichéd", coupled with "bad acting" on the part of Watson and the female cast, but commended the realism Nicolaou created by shooting on location in Romania—using Romanian residents for smaller roles in the film—as well as the fact that the film does not "take itself too seriously", making it "more fun" than Francis Ford Coppola's Dracula. Cold Fusion Video's Nathan Shumate echoed Bracken's opinion on the "authenticity" created from the Romanian landscaping and actors that gave "the feel of verisimilitude", but criticized the stop-motion subspecies as being "irrelevant to the main action", and the story as a "general lack of urgency". Richard Scheib, a critic for science fiction, horror, and fantasy review website Moria, felt the original film "showed promise" when it attempted to go "back to the folklore roots of vampirism"; he also liked the authentic feeling from shooting in Romania, but felt the limited budget restricted the film from being convincing, with David Allen's stop-motion subspecies creatures being a disappointment. When he had a chance to review Bloodstone, Scheib felt the sequel delivered "vampire clichés", but again "showed promise" with its imaginative