Rated R for bloody horror violence and language including some sexual references
Cast: Anton Yelchin, Colin Farrell, Toni Collette, David Tennant, Imogen Poots, Christopher Mintz-Plasse
Director: Craig Gillespie
When you consider it, a rehash of the 1985 horror flick "Fright Night"--given the spate of vampire-related movies, tv shows, books, clubs--seems not only unnecessary but unwise. And yet there is something enjoyable about Craig Gillespie's remake. Perhaps it's because the movie doesn't try to romanticize the bloodsucker's plight. Or as one character puts it, "this isn't some fictional vampire who is sensitive and brooding... this is the fucking shark from 'Jaws' and he will not stop."
I remember the theatre where I viewed the original. I was still in high school, and two things stood out about the movie. One, the idea of having a vampire as your neighbor (at that time, anyway) seemed original to me. And two, the film was far more interested in treating its audience to a slew of thrills without getting bogged down in vampiric lore. Horror filmmakers these days seem intent on out-geeking each other with their respective treasure troves of knowledge. I have nothing against horror aficionados who revel in lore, but I prefer my B-grade horror-comedies to focus a little less on backstory details and more on the horror and the humor. Sometimes, damn it, you just want to have a good time.
The story takes place in the suburbs surrounding Las Vegas; an ideal location, we're told, for a vampire to feed given that most inhabitants work the clubs and casinos through the night and sleep through the day; more opportunities to grab unsuspecting suburbanites. A neighborhood kid named Charley Brewster (Anton Yelchin) lives in one such suburb with his recently-divorced mother (Toni Collette). In school, Charley has changed his social status from outcast to "sort of" cool upon hooking up with a sexy new girlfriend (Imogen Poots). This doesn't sit well with his childhood friend, Edward (Christopher Mintz-Plasse, the beloved McLovin' from "Superbad") who conjures up some pretty embarrassing fodder to be used as leverage so that he may spend more time with his former best friend. ("Maybe you want me to tell your new friends about the time you borrowed my Stretch Armstrong doll to tie around your balls so you could jerk off for an hour.")
As more people disappear from the streets, Charley begins to suspect his neighbor, the handsome yet creepy Jerry (Colin Farrell) might be the cause. The evidence collected by Edward sheds further light on the possibility that he's a vampire. A far-fetched notion, though Jerry at first doesn't seem too interested in keeping his secret. (A locked dumpster sits parked a few feet from his front door.) The mysterious neighbor has a nose for fresh blood and a keen eye on those with suspicions, and soon confronts Charley in an exchange where each character knows what the other is thinking but reluctant to spell it out. "Your mother, there's a neglect there. It, uh... gives off a scent," Jerry hisses. "And your girl... she's ripe. There are a lot of bad people out there, Charley." During the exchange, Jerry's nose twitches and his eyes dart back and forth. His olfactory senses are so strong he can't eye his prey directly, even when threatening him. With nowhere else to turn, Charley attempts to enlist the help of horror icon Peter Vincent (David Tennant), the pampered star of tv and the Vegas stage, whose ostentatious shows promise a bit more sagacity in the art of vampire elimination than is actually the case.
Director Gillespie ("Mr. Woodcock," "Lars and the Real Girl") and screenwriter Marti Noxon don't bother pacing themselves or slowly building the suspense; this one pretty much leaps from the starting gate and maintains its rapid pace. Slow spots are scarce. The special effects are passable and wisely not overused. The acting is acceptable enough for this type of film. (Farrell works as the vampire, though it's worth noting that Chris Sarandon did bring a sardonic wit to the character that Farrell lacks.) And of course, with a remake comes a welcome cameo.
The screening I attended was in 2D, though both versions were offered. There's nothing here that warrants a 3D viewing, and many scenes contain a dark, smoky and washed-out atmosphere that I suspect would be less effective seen in 3D. What ultimately makes the movie enjoyable has nothing to do with the difference between the dimensional viewing options. It's in the approach to the source material. The film doesn't try to outdo the original, but honors it by studying it, learning what made it effective entertainment, and offering the same to today's audience. The end result, while not life-changing, is still a fun late summer romp through B-grade chiller terrain.
* * * out of * * * * stars
I remember the theatre where I viewed the original. I was still in high school, and two things stood out about the movie. One, the idea of having a vampire as your neighbor (at that time, anyway) seemed original to me. And two, the film was far more interested in treating its audience to a slew of thrills without getting bogged down in vampiric lore. Horror filmmakers these days seem intent on out-geeking each other with their respective treasure troves of knowledge. I have nothing against horror aficionados who revel in lore, but I prefer my B-grade horror-comedies to focus a little less on backstory details and more on the horror and the humor. Sometimes, damn it, you just want to have a good time.
The story takes place in the suburbs surrounding Las Vegas; an ideal location, we're told, for a vampire to feed given that most inhabitants work the clubs and casinos through the night and sleep through the day; more opportunities to grab unsuspecting suburbanites. A neighborhood kid named Charley Brewster (Anton Yelchin) lives in one such suburb with his recently-divorced mother (Toni Collette). In school, Charley has changed his social status from outcast to "sort of" cool upon hooking up with a sexy new girlfriend (Imogen Poots). This doesn't sit well with his childhood friend, Edward (Christopher Mintz-Plasse, the beloved McLovin' from "Superbad") who conjures up some pretty embarrassing fodder to be used as leverage so that he may spend more time with his former best friend. ("Maybe you want me to tell your new friends about the time you borrowed my Stretch Armstrong doll to tie around your balls so you could jerk off for an hour.")
As more people disappear from the streets, Charley begins to suspect his neighbor, the handsome yet creepy Jerry (Colin Farrell) might be the cause. The evidence collected by Edward sheds further light on the possibility that he's a vampire. A far-fetched notion, though Jerry at first doesn't seem too interested in keeping his secret. (A locked dumpster sits parked a few feet from his front door.) The mysterious neighbor has a nose for fresh blood and a keen eye on those with suspicions, and soon confronts Charley in an exchange where each character knows what the other is thinking but reluctant to spell it out. "Your mother, there's a neglect there. It, uh... gives off a scent," Jerry hisses. "And your girl... she's ripe. There are a lot of bad people out there, Charley." During the exchange, Jerry's nose twitches and his eyes dart back and forth. His olfactory senses are so strong he can't eye his prey directly, even when threatening him. With nowhere else to turn, Charley attempts to enlist the help of horror icon Peter Vincent (David Tennant), the pampered star of tv and the Vegas stage, whose ostentatious shows promise a bit more sagacity in the art of vampire elimination than is actually the case.
Director Gillespie ("Mr. Woodcock," "Lars and the Real Girl") and screenwriter Marti Noxon don't bother pacing themselves or slowly building the suspense; this one pretty much leaps from the starting gate and maintains its rapid pace. Slow spots are scarce. The special effects are passable and wisely not overused. The acting is acceptable enough for this type of film. (Farrell works as the vampire, though it's worth noting that Chris Sarandon did bring a sardonic wit to the character that Farrell lacks.) And of course, with a remake comes a welcome cameo.
The screening I attended was in 2D, though both versions were offered. There's nothing here that warrants a 3D viewing, and many scenes contain a dark, smoky and washed-out atmosphere that I suspect would be less effective seen in 3D. What ultimately makes the movie enjoyable has nothing to do with the difference between the dimensional viewing options. It's in the approach to the source material. The film doesn't try to outdo the original, but honors it by studying it, learning what made it effective entertainment, and offering the same to today's audience. The end result, while not life-changing, is still a fun late summer romp through B-grade chiller terrain.
* * * out of * * * * stars
