If there's a cinematic alchemy award to be given this year director Bill Condon deserves to take it home after magically turning the tedious Twilight franchise into entertainment gold. 2011's Part 1 was a horror camp romp that turned the supernatural love triangle — the naval gazing trio of Bella Edward and Jacob — on its head. Breaking Dawn - Part 2 continues the madcap exploration of a world populated by vampires and werewolves mining even more comedy thrills and genuine character moments out of conceit than ever before. The film occasionally sidesteps back into Edward and Bella's meandering romance (an evident hurdle of author Stephenie Meyer's source material) but the duller moments are overshadowed by the movie's nimble pace and playful attitude. Breaking Dawn - Part 2 will elicit laughs aplenty — but thankfully they're all on purpose.
Part 2 picks up immediately following the events of the first film Bella (Kristen Stewart) having been turned into a vampire by Edward (Robert Pattinson) to save her life after the torturous delivery of her half-human half-vampire child Renesmee. She awakes to discover super senses heightened agility increased strength… and a thirst for blood. One dead cougar later Bella and the gang are able to focus on the real troubles ahead: Renesmee is rapidly growing (think Jack) and vampiric overlords The Volturi perceive her a threat to vampiric secrecy. Knowing the Volturi will travel to Forks WA to kill the young girl (a 10-year-old just a month after being born) The Cullens amass an army of bloodsucking friends to end the oppression once and for all.
Packed with an absurd amount of backstory and mythology-twisting plot points (some vampires can shoot lightning now?) Condon and series screenwriter Melissa Rosenberg mine revel in the beefed up ensemble of Breaking Dawn - Part 2 and thanks to a wildly funny cast it never feels like pointless deviation. Along with the usual suspects Lee Pace adds swagger to the series as a grungy alt-rock vampire Noel Fisher appears as a hilarious over-the-top battle-ready Russian coven member and Michael Sheen returns has Volturi head honcho Aro and steels the show. Flamboyant diabolical and a steady stream of maniacal laughter Sheen owns Condon's high camp vision for Twilight and he lights up the screen. There are a few throw away nations of vampires — the oddly stereotypical Egyptian and Amazonians sects are there mostly there to off-set the extreme whiteness — but the actors involved bring liveliness to a franchise known for being soulless. Even Stewart Pattinson and Taylor Lautner give personal bests in this installment — a scene between Bella and her dad Charlie (Billy Burke) is genuinely heartfelt while Jacob's overprotective hero schtick finally lands.
Whereas Breaking Dawn - Part 1 stuck mostly to the personal story relying on the intimate moments as Bella and Edward took the big plunge into marriage and sex Part 2 paints with broader strokes and Condon has a ball. Delving into the history of the vampires and the vampire world outside Forks is Pandora's Box for the director. One scene where we learn why kids scare the heck of the Volturi captures a scope of medieval epics — along with the bloodshed. Twilight might be known for its sexual moments but Breaking Dawn - Part 2 will go down for its abundance of decapitations. The big set piece in the finale is something to behold both in the craftsmanship of the spectacle and in its bizarre nature.
The Twilight Saga: Breaking Dawn - Part 2 had the audience hooting hollering and even gasping as it twisted and turned to the final moments. There's little doubt that even the biggest naysayer of the franchise would do the same. No irony here: the conclusion of Twilight is a blast.
Is there such a thing as a successful remake anymore? After seeing Fright Night the answer is (surprisingly) a resounding “Yes.” Craig Gillespie’s shiny reimagining of the 1985 kitsch classic is very much its own movie but like any good spawn it doesn’t forget where it came from.
The film’s plot is not born of a novel concept. Las Vegas teenager Charlie (Anton Yelchin) is doing just fine. He managed to shake his nerd image he’s got a hot girlfriend (Imogen Poots) and he even puts the de facto cool kids to shame on occasion. Life’s pretty great until he meets the neighbor: Jerry (Colin Farrell). People are disappearing and Charlie’s old friend Ed (Christopher Mintz-Plasse) has a theory: Jerry’s a vampire. Armed with only the vampirical evidence doled out by Criss Angel reincarnate Peter Vincent (David Tennant) Charlie is forced to defend himself his mother (Toni Collette) and his girlfriend from the silver pointy clutches of Jerry the vampire’s endless blood-lust. And a suspenseful hilarious time ensues.
Fright Night is successful in large part because it keeps things simple. Charlie: good. Jerry: 16 shades of blood-curdling evil. Game set match. It’s scary and gory with a dash of humor – essentially a good old-fashioned senseless horror flick with a glossy big-budget cover. It’s cleverly self-aware and expends great effort to lend a sense of quality to something that promises to be nothing more than a bloody slasher flick. But the bottom line is that it works.
And the cast is big part of that. Farrell’s bloodsucker is the antidote our Twilight-riddled generation so desperately needs; this is what vampires are supposed to be. His twitchy growling yet somehow seductive vampire successfully strikes a precarious balance along the sexy-scary line and while the role doesn’t demand a great deal of Farrell's talent he’s fully committed to his psychotic relentlessly violent character and the result is deliciously despicable.
As for our band of plucky good guys Yelchin is perfectly adequate as our hero. He’s likeable he’s trustworthy and he holds his own amongst onscreen presences that threaten to drown him – Mintz-Plasse Farrell and Tennant are tough acts to outshine. Collette is generally wasted – anyone could play her part but she does what she can with the material she’s dealt. Poots really shines here; it’s almost surprising that she’s able to bring such much power to the typical girlfriend role but she manages to make her character more than just a love interest. But of course the one man who stands above the entire cast is Tennant who’s all but eliminated from the trailers for the film. The former Doctor Who star jumps into the mainstream as Peter Vincent Las Vegas performer and vampire expert extraordinaire and every minute he’s onscreen is comedy gold. His timing delivery stature and expressions are all pitch perfect. His performance alone is worth giving Fright Night two hours of your time.
Of course Gillespie makes some very stark choices with the film. The dark scenes are almost too dark; it takes a few scenes to adjust to the lighting much like being suddenly shut in a dark room. And while it’s probably not great for anyone’s ocular health it really heightens the element of fear. Then there’s the element of 3-D which is thoroughly used throughout. At first it borders on schlocky but when the vampy action gets going everything from blood to holy water to fire comes bursting out of the screen and lends an enjoyable but decidedly B-movie flair to the whole ordeal.
While the story wheels out of control leans heavily on ridiculously convenient solutions and generally has only two goals – fear and bloodshed – the film itself is so much fun that those elements don’t really matter. If you’re looking for something to stimulate your intellect run like hell from this movie but if you want two hours of unadulterated messy creepy fun look no further than Fright Night.
Did you know there are scientifically documented cases of very young children who had spontaneous memories of things and people and places they could never possibly have known about? Apparently The Return’s screenwriter Adam Sussman discovered this phenomenon and created the character Joanna Mills (Sarah Michelle Gellar) a young woman who since she was 11-years-old has been having disjointed flashbacks of some horrible attack she never experienced herself. She flashes regularly on a dank bar paintings of seahorses and ends up hiding from a man who calls her "Sunshine.” And who knew hearing Patsy Cline on your radio would spell supernatural trouble? The best part is when Joanna has one of these episodes she ends up cutting herself. Needless to say the girl’s a tad screwed up. Eventually Joanna finds herself inexplicably drawn to La Salle Texas where she finally starts to piece together the murder mystery that has been plaguing her for so long. Thank god! Someone just needs to hand Sarah Michelle Gellar a Coke and a smile. Forget about being a scream queen Gellar has become the queen of depression with the two Grudges and now The Return under her belt. She has actually made an art form of sad teary-eyed stares in the mirror sinking onto a bed with head in hand and general malaise. She also plays scared pretty well but deep down you know at any moment Gellar can get all Buffy the Vampire Slayer on whoever is threatening her especially as the tough Joanna. But the actress has to be getting tired of all this despair so let’s hope she decides to move on. The other Return cast members really aren’t worth mentioning except for a brief appearance by Sam Shepherd as Joanna’s dad. One can only imagine he did this for some extra cash. The Return is one of those cases in which the trailer makes the movie look a hell of a lot scarier than it really is which is probably why the studio didn’t pre-screen it for critics. It’s a marketing ploy of course pitching a thriller with an established horror actress attached--except this time they are messing with their built-in audience. Reminiscent of the truly creepy What Lies Beneath The Return may have a few jumps and bumps here and there but as a ghost story there isn’t any oomph. Maybe it has something to do with the ultra-depressive main character who isn’t nearly developed enough. We aren’t invested in what happens to Joanna or the woman periodically possessing her so she can solve her murder. The Return doesn’t measure up to its expectations lulling us instead of thrilling us.