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.
Though Garry Marshall hasn’t made a decent flick since 1990’s Pretty Woman he still apparently wields a not inconsiderable amount of clout in Hollywood. What else could explain the all-star ensemble of actors who gathered for Valentine’s Day? Among the major names found probing the turgid depths of the nearly 80-year-old director’s insipid rom-com are Julia Roberts Anne Hathaway Ashton Kutcher Jessica Alba Jamie Foxx Jessica Biel Taylor Lautner and various other prominent actors who either owe favors to Marshall or whose incriminating photos he holds in his possession.
A slice-of-life tale unfolding in Los Angeles over the course of a single Valentine’s Day the film chronicles the romantic adventures of a diverse cast of characters at various stages of relationships and encompassing virtually every conceivable demographic category. Their ages backgrounds and perspectives often dramatically differ but they each share one trait in common: Almost without exception they are all ceaselessly painfully disastrously unfunny.
Some temper their dishumor with a dose of the annoying like Kutcher whose dopey florist Marshall unwisely chose to anchor Valentine’s Day’s story around. Others add a dash of the preposterous like Roberts dressed in military fatigues in a laughable attempt to play a U.S. Army Captain on leave from the front. Still others add cloying sentiment to the mix like Bryce Robinson’s lovelorn 10-year-old whose grandparents played by Shirley MacLaine and Hector Elizondo ply him with nostalgic romantic tips pre-fabricated for maximum inter-generational cuteness. Whatever your preferred method of cinematic torture may be you’ll undoubtedly encounter it in this film.
In addition to challenging the pain threshold Valentine’s Day offers a test of endurance as well its story requiring over two hours to satisfy the narrative demands of its swollen cast. If you didn’t despise Hallmark’s ersatz holiday before you certainly will after enduring this Bataan Death March of rom-coms.
Last we heard in last year’s Diary of a Mad Black Woman Madea (Tyler Perry) was solving social cultural and familial problems. What a busy lady! Well she’s done gone and done it again after a whole new crop of problems pop up that need fixing. This time the conflicts revolve primarily around two sisters Vanessa (Lisa Arrindell Anderson) and Lisa (Rochelle Aytes) both of whom are wary of their financial-minded mother Victoria (Lynn Whitfield). Vanessa is deathly afraid to love again after her husband left her and two kids and fears she might’ve met Mr. Right in the form of a bus driver (Boris Kodjoe). Meanwhile Lisa is in a physically abusive relationship with Carlos (Blair Underwood) “Atlanta’s most eligible bachelor ” but is afraid to leave him. Madea the antithesis of gold-digging Victoria solves these and many more problems as the family reunion nears. After Mad Black Woman’s surprise box office take last year bigger names were less reluctant to sign on. Accordingly the new actors in Reunion are very solid—borderline stellar collectively. The lone exception is Perry as Madea (as well as a few other characters) whose over-the-topness although expected reduces the air of professionalism from the rest. Underwood is so damn good at being so damn bad as the abusive fiancée Carlos while Whitfield matches him chill for chill in a very icy performance. The relative unknowns/newcomers are the most pleasant surprises however. Aytes has breathtaking beauty that would normally overshadow acting but not here. Anderson whose last film was ‘95’s Clockers is equally beautiful and evocative as a single mother torn. And for the female eyes there’s Kodjoe whom girls will likely fall for even more when they learn he can actually act. Perry wears many hats in Family Reunion: writer director producer star--and oh yeah he also wrote the popular stage production from which the film is adapted. Perhaps Perry’s workaholic attitude contributes to the film’s thematic overkill. There are a number of kinks in the film’s completely uneven story and the way it is told but perhaps the biggest problem stems from the fact that it still feels like a stage play. Sometimes that’s a plus for a film but it’s hard to think it was intended. This feeling is elicited by the sum of the story’s parts. Perry will be in one scene telling the tale of a beleaguered battered woman amid a linear and conventional storyline and in the next scene become Madea in her cartoonish and campy getup dishing out her tough love techniques. No doubt Reunion is an enjoyable play--only if you agree with Perry’s comedic remedies for serious issues.