Opening in theaters this weekend:
Renfield--The wild-eyed, insect-gobbling toady to the Vampire Prince became a horror icon in his own right more than ninety years ago, when the great Dwight Frye unleashed his unforgettable giggle in Universal's original Dracula. It's a little surprising that he hasn't been given his own movie vehicle sooner.
But while Nicholas Hoult, who plays the title role in this horror spoof from Universal, briefly gets to do a respectable imitation of Frye's deranged laugh (hrrrr, hrrrr, hrrrrrrr....), he otherwise plays R. M. Renfield without mania, as a modest, mild-mannered, good-hearted fellow. He's also an action hero; munching bugs gives him superhuman strength and martial arts skills and recuperative powers.
His decades of servitude have made him reflective as well; he's come to entertain the possibility that he might just be in a toxic relationship with his boss. He's started attending a support group for people in a similar boat, both to explore his own emotional needs and to scout for victims--the abusers that people at the meetings describe--to serve as food to his convalescing sanguinary master.
The film is set in modern-day New Orleans, where Renfield has brought the charred remains of Dracula after the duo's last tangle with fearless vampire killers. The Count isn't looking well, but he's still able to bully and shame his poor lackey into submission, and he's a little more menacingly intact every time we see him. Then when Renfield comes to the attention of both a local crime family and of a New Orleans cop (Awkwafina) with an angry grudge against the gangsters, he must decide whose priorities he will focus on, Drac's or his own.
Directed by Chris McKay from a script by Ryan Ridley and a story by Robert Kirkman, Renfield is very silly and often heavy-handed. It's extremely gory, but like this February's Cocaine Bear, the gore is played strictly for laughs and lacks any true shock; it's too insubstantial to pack much punch even as a gross-out. The satirical points about modern self-help culture and pop psychology are trenchant enough, but they've pretty much exhausted themselves before the film is half over.
That said, Renfield is colorful, fast-moving and full of comedic invention, and Hoult is charming and easy to root for. Awkwafina pushes pretty hard, as she has in almost all her movies except The Farewell, but she also gets across an honest fury and grief, and when she lets herself connect with Hoult she lightens up agreeably. Shohreh Agdashloo has a gleefully sinister glint in her eyes as the queen of the crime family, Ben Schwartz is properly loath-able as her imbecilic son, and the support group offers some fine character players.
The movie would carry a lot less weight, however, without its other Nick. Growling through a mouth full of pointy teeth, seething with grievance at his reduced circumstances and unable to maintain the air of grand menace he's trying for, Nicholas Cage offers probably the goofiest parody version of Drac since George Hamilton in Love at First Bite back in 1979. Unlike Hamilton's, however, Cage's Count isn't meant to be lovable. Cage sinks his fangs into the role, and taps a rich vein of malignant narcissism.
