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.
The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.