I'd be lying if I said I haven't been looking forward to this from the time I saw the first trailer. The source material is classic, the premise is enticing, and the trailer promised a super blend of horror and comedy. Nicolas Cage has had many ups and downs in his career but has made some fantastic films with outstanding performances in recent years, from horror-thriller romp 'Mandy' to the beautiful, direly underappreciated 'Pig,' and the notion of seeing his take on Dracula has its own allure; Nicolas Hoult and Awkwafina have increasingly proven themselves with every role they take on. I'm less familiar with filmmaker Chris McKay, or writers Ryan Ridley or Robert Kirkman, but they all have their own measures of renown. With all this said, I've had 'Renfield' in mind as the first theatrical release of 2023 that was a must-see for me, perhaps a little naively getting my hopes up. How is it, though? Has it lived up to the expectations that had been built up for me piece by piece? I'm very glad to say that frankly, it's at least as good, and maybe even better.
Everyone involved was clearly having a total blast with what this movie could be, while never losing sight of the intent to entertain. And that it does without question, being delightfully over the top and full embracing Movie Magic in its plot development, and in blending horror, stylized action, and comedy, but doing so in a way that's knowing, smart, and cheeky. Every component part here is simply outstanding: the wild blood, gore, and special makeup, and some choice shots spotlighting that garishness; the wonderfully outrageous stunts, and effects practical and special; sharp, intelligent humor, connected to the core conceits or not, and sometimes joyfully and deliberately contraposed (as with select music cues). Cage is wholly reveling in the ham-handed theatricality and chewing of scenery as Dracula; Hoult and Awkwafina are given an opportunity to show more of their range and skill sets as actors, and I can only reflect that I look forward to seeing both in much more. Shohreh Aghdashloo is an unexpected highlight in her supporting part, living up the underhanded smarm and menace of Bellafrancesca. And this is hardly to count out the swell acting from Ben Schwartz, Bess Rous, Camille Chen, Brandon Scott Jones, or anyone else among the cast.
The production design and art direction are excellent across the board, with especial highlights in the decoration of Dracula's lair, and the Lobos stronghold, and even Renfield's apartment. A peppy soundtrack is splendid complement to the solid if more ordinary score of Marco Beltrami, and just as importantly, very fitting for the zesty tone that 'Renfield' adopts. On that note, of course none of this would be possible without a robust backbone, and to the credit of Kirkman and Ridley, they've done a terrific job in penning what the picture would become. Snappy and well considered exposition leads us directly into that superb swirl of genres, but with a consistent, somewhat unique and surprising through-line. The screenplay distinctly plays with concepts of abuse, codependency, and toxic relationships, and it does so for comedy. Yet at the same time that thrust is completely, gratifyingly sincere, and sagely and sparingly deployed in such a fashion with clear hope of helping to connect some dots for people in the audience who need that little push. With everything that the feature aims to stir together - including a tightly wound plot mixing the Dracula-Renfield dynamics, Quincy's personal and professional difficulties, criminal organizations, and police corruption - the storytelling does get a tad heavy-handed and gawky at points.
And this is where the assessment takes on a hint of criticism, for while the conscious, winking slant of overcooking and Cinematic Sorcery does help all these facets to tie together well, I don't think it could ever be perfect. All very good ideas, truly, but a smidgen too exact every now and again. Moreover, the course of events is divided into three discrete acts, and the last act is particularly busy as it takes every inclusion and notion to their extreme. It's a lot to take in sometimes. On the other hand, intelligent as the writing and otherwise craftsmanship is, the end result when all is said and done is that the resolution of all the parts, the climax not least, and the ending, is all the more satisfying for it.
Rife with substantial violence, and emphatic if oblique discussion of trauma, in various ways this won't appeal to everyone. It's also perhaps worth noting that at the same time that the film stays true to the vampire mythology in some regard, and pays homage to prior realizations, it also surely plays fast and loose with the genre. This fits neatly among its fanged Silver Screen brethren, but in its own way. Provided none of this is an obstacle, however, I'd have no qualms in recommending this flick to just about anyone. It's funny, it's exciting, and it's very well made in every capacity - and above all, it's so much fun from start to finish. Once more, I had high expectations, and I'm so pleased with how squarely they were met or possibly surpassed. 'Renfield' is a deliciously good time, and it earns my hearty, enthusiastic recommendation!
Everyone involved was clearly having a total blast with what this movie could be, while never losing sight of the intent to entertain. And that it does without question, being delightfully over the top and full embracing Movie Magic in its plot development, and in blending horror, stylized action, and comedy, but doing so in a way that's knowing, smart, and cheeky. Every component part here is simply outstanding: the wild blood, gore, and special makeup, and some choice shots spotlighting that garishness; the wonderfully outrageous stunts, and effects practical and special; sharp, intelligent humor, connected to the core conceits or not, and sometimes joyfully and deliberately contraposed (as with select music cues). Cage is wholly reveling in the ham-handed theatricality and chewing of scenery as Dracula; Hoult and Awkwafina are given an opportunity to show more of their range and skill sets as actors, and I can only reflect that I look forward to seeing both in much more. Shohreh Aghdashloo is an unexpected highlight in her supporting part, living up the underhanded smarm and menace of Bellafrancesca. And this is hardly to count out the swell acting from Ben Schwartz, Bess Rous, Camille Chen, Brandon Scott Jones, or anyone else among the cast.
The production design and art direction are excellent across the board, with especial highlights in the decoration of Dracula's lair, and the Lobos stronghold, and even Renfield's apartment. A peppy soundtrack is splendid complement to the solid if more ordinary score of Marco Beltrami, and just as importantly, very fitting for the zesty tone that 'Renfield' adopts. On that note, of course none of this would be possible without a robust backbone, and to the credit of Kirkman and Ridley, they've done a terrific job in penning what the picture would become. Snappy and well considered exposition leads us directly into that superb swirl of genres, but with a consistent, somewhat unique and surprising through-line. The screenplay distinctly plays with concepts of abuse, codependency, and toxic relationships, and it does so for comedy. Yet at the same time that thrust is completely, gratifyingly sincere, and sagely and sparingly deployed in such a fashion with clear hope of helping to connect some dots for people in the audience who need that little push. With everything that the feature aims to stir together - including a tightly wound plot mixing the Dracula-Renfield dynamics, Quincy's personal and professional difficulties, criminal organizations, and police corruption - the storytelling does get a tad heavy-handed and gawky at points.
And this is where the assessment takes on a hint of criticism, for while the conscious, winking slant of overcooking and Cinematic Sorcery does help all these facets to tie together well, I don't think it could ever be perfect. All very good ideas, truly, but a smidgen too exact every now and again. Moreover, the course of events is divided into three discrete acts, and the last act is particularly busy as it takes every inclusion and notion to their extreme. It's a lot to take in sometimes. On the other hand, intelligent as the writing and otherwise craftsmanship is, the end result when all is said and done is that the resolution of all the parts, the climax not least, and the ending, is all the more satisfying for it.
Rife with substantial violence, and emphatic if oblique discussion of trauma, in various ways this won't appeal to everyone. It's also perhaps worth noting that at the same time that the film stays true to the vampire mythology in some regard, and pays homage to prior realizations, it also surely plays fast and loose with the genre. This fits neatly among its fanged Silver Screen brethren, but in its own way. Provided none of this is an obstacle, however, I'd have no qualms in recommending this flick to just about anyone. It's funny, it's exciting, and it's very well made in every capacity - and above all, it's so much fun from start to finish. Once more, I had high expectations, and I'm so pleased with how squarely they were met or possibly surpassed. 'Renfield' is a deliciously good time, and it earns my hearty, enthusiastic recommendation!