Fright Night Review

It’s probably getting as tiresome reading it as it is writing it but VAMPIRES ARE FRICKINGEVERYWHERE (though fortunately not literally). Perhaps if I were a true journalist, rather than an unbelievably fortunate chancer who gets to go see films then write about them, perhaps I would offer a well-researched and thoughtful treatise on the socio-cultural reasons for this resurgence of interest in the undead over the last few years.

Perhaps I would lamely suggest that in these dark times of recession and corruption, we see our own society reflected in the vampires – a corruption of the human being, without soul or humanity, the strong few forming a parasitical relationship with the weak majority. Or perhaps I’d venture that we are currently enamoured with vampires because we seek escapism – because we wish to be strong, fast and near immortal. Or perhaps I’d conclude we seek the vampire because as more and more frequently our relationships with those around us are conducted via digital means and we envy the visceral intimacy of the vampire and its victim. Or maybe I’d just decide that Stephanie Meyer got lucky and ever since the success of Twilight, we’ve all just been following the money. Whatever. I’m not going to do that.

Fright Night is a remake of a 1985 cult favourite. Charley (Anton Yelchin)’s dreary suburban existence is thrown into disarray when his geeky ex-friend Ed (established Hollywood face of nerdiness, Christopher Mintz-Plasse) theorises that a recent spate of disappearances is due to the fact that Yelchin’s new neighbour Jerry (Colin Farrell) is a vampire. Charley, who would rather be spending time with his hot new girlfriend Amy (Imogen Poots) than with his embarrassing former ally, is at first dismissive, but soon finds himself having to protect his loved ones from Farrell’s threat. His only hope is the advice of David Tennant (who introduced the film at the Big Screen event)’s high-camp illusionist, Peter Vincent.

Director of indie favourite Lars and the Real Girl, Craig Gillespie helms the film and there’s a strong sense of fun about proceedings. Comedy is just as important as scares are in the feature andFright Night offers a decent laugh quota. David Tennant is the chief provider of giggles as the hammed-up performer, a sort of Derren Brown-Russell Brand mash up. In fact, I’d be surprised if Brand hadn’t been the first choice for the role as Tennant seems to be channelling everyone’s favourite Katy Perry-marrying former lothario to a rather large extent. Still, he mugs gamely and the charisma that won him legions of fans in Doctor Who, does him a lot of favours here. It’s also amusing to see him effing and jeffing and necking booze like it’s going out of fashion; he never got to do that in the Tardis.

The rest of the cast acquit themselves nicely. Mintz-Plasse is typically strong, as are Yelchin and Poots. Farrell clearly relished his role as the vampire and is seductively brilliant. And it’s always nice to see Toni Collette, in this film as Charley’s mother.

Fright Night is a little shallow – there’s not much going on beneath the jumps and japes – and I’d recommend seeing it in 2D if you can because the 3D version is incredibly dark, but beyond that, it’s a very hard film to dislike. One gets the feeling that on the strength of this, the vampire trend won’t be ending anytime soon.