Chris McKy’s new film has fun with vampire lore, but is more of an action comedy, albeit in a dark vein.
His Renfield uses the notable Prince of Darkness from an earlier fore of his The Lego Batman Movie that does some neat photoshopping at the outset to elicit a direct descendent of the famous monster adaptation of the Bram Stoker novel.
Here, the titular character, a long-term lethal minion, becomes jaded from all submission and begins to found a new outlet when interacting with a support group needed for his contemptuous, deviously petty employer.
The tale doesn’t really have much audacity about it, contingent on a New Orleans cartel, driven by corruption and revenge. You really don’t get much of the relationship between the cold-blooded boss and his seemingly sweeter, less ominous accomplice. Wishing that Nicolas Cage’s Conde Dracula could have occupied more screen time through he chews through the part with gusto with notable lurid interludes. More than thirty years after his first time with an undead scenario opposite Jennifer Beals in Vampire’s Kiss.
Another Nicholas – Hoult of Warm Bodies and The Menu helps to provide the warmth delivered from the material in pairing with a lone, honest cop (Awkwafina of The Farewell) in what doesn’t have much of an eerie side. Backup. At least on the antagonist end comes from thespians like Shohreh Aghdashloo and Ben Schwartz in what can conjure of imagination in scene conception more than execution which is more ragged on its way to the closing credits.