Title: Fright Night
Watched: August 19, 2011 (and before)
Summary: Fun update!
As a lifelong vampire fan — hell, my first novel is (somewhat) about vampires — I saw and loved the original Fright Night when it opened in 1985. Truth be told it was always one of my favorite vampire movies (up there with Coppola’s Dracula, Interview with the Vampire, Let the Right One In, and The Lost Boys). The 1985 Fright Night offers up a clever blend of comedy and horror. Not only is the movie very funny (and it holds up well today), but it’s not a pure spoof. The plot’s moderately clever, and the vampire, played by Chris Sarandon (Susan’s first husband) has a sinister charm and a genuine sense of menace. In my opinion vampires need a sense of menace (even the goofy Master from Buffy Season 1 is menacing). No sparkles for me.
So it was with some trepidation that I checked out the remake. See the trailer below:
I was pleasantly surprised to find the new version pretty fricking good. The story is loosely faithful to the original film. Buffy writer Marti Noxon penned the screenplay. She’s a consistently excellent writer, with the exception of the incredibly sucky I Am Number Four (maybe someone butchered it after the fact?) with a knack for catchy dialog. Most of the original elements survived intact, but character and balance has been adjusted significantly. Most substantially, Roddy McDowall‘s campy older vampire-killer TV host has been replaced by David Tennant channeling a campy blend of Chris Angel and Russell Brand. But that works.
The casting is top notch. Anton Yelchin is fast talking, self deprecating, and likable as Charlie. Imogen Poots is smoking inferno hot — and 21st century feisty/competent — as Amy. Hers is a career to watch, I wouldn’t be surprised to see her carrying a movie in the next year or two. The rest of the cast is fun too. But it’s Colin Farrell that steals the show with his visceral new take on the ancient killer. Farrell’s Jerry isn’t so slick or romantic as the classical vampire, but he brings a feral intensity to the role which is extraordinarily predatory. Supremely confident, this Jerry starts off the movie as a mere “human” predator, clearly a man not to be trusted with the ladies. But when he senses the kids are on to him, he doesn’t just depend on the defense of disbelief that the original did (although he does have some good fun with this) but goes straight for the jugular — literarily and figuratively. Part white trash, part serial killer, part vampire, he’s all around delicious to watch.
Noxon’s script is full of dark humor and quippy (but not too campy) lines. The story has been rearranged to suit modern tastes. Essentially act 1 has been compressed to almost nothing. Gone is the first third of the movie where the characters (although not the audience) are trying to sort out exactly what they’re dealing with. Instead, we open with vampire, and by scene three (perhaps 4-5 minutes) Charlie’s friend Evil is desperately trying to convince him that the new neighbor Jerry is a vampire. The movie makes no bones about confirming this either. It leaps right into fang games and breaks into a very extended second act filled with big chase and action scenes. This could have ruined the film, but the scenes are slick and intense. The final showdown perhaps felt a little rushed, and there was at least one major story error (the vampires show up in Vegas at exactly the wrong time and place with no explanation of how they knew to be there), but none of this really detracts from the fun and mayhem.
The effects are top notch and don’t get in the way too much. Sure they’re gratuitous, but they’re supposed to be. The editing is more classic, not the frantic mess that’s popular these days. And the cinematography was often quite striking. Certain shots were highly memorable: particularly both fang outs (Jerry and another), the stripper’s final number, and many others.
So vampire fans, go see.