Frightful Film Nights

Upon seeing Fright Night, the 2011 remake, this past September, I read numerous reviews basically stating that 2011 could not hold a candle to the original.  As a film enthusiast, I will not claim to be a film geek as their is much still much to learn and see, I decided my own investigation would need to be done.

Usually, I would agree with the assertion made by Total Film's Rosie Fletcher that not only do we not need another vampire film (blame the woeful Twilight and its overexposure for ruining it for everyone else) but remakes of classic are pretty much unnecessary anyway.  A classic deserves not to be tarnished by the presence of a film that resembles the desperation of a sorry Gaga-ite on all-Hallow's Eve.

Craig Gillespie's 2011 film takes a more measured approach, and refrains from delving straight into the action as Tom Holland did.  This was not a downfall on Holland's part, as the writer he created a blend of suspense horror with a self-aware comedic undertone.  For instance, Peter Vincent questions the formulaic exposition of horror, and the superficial whim of the genre and audiences at that, "Apparently your generation doesn't want to see vampire killers anymore, nor vampires either.  All they want is to see slashers running around in ski masks, hacking up young virgins."

Evil Ed meanwhile finds delight and solitude with Jerry's promise of peace in the supernatural, while Charley's quest to find out the truth about Jerry is punctuated intelligibly with cinematic horror images.  How very Blade Runner of them.

The Rear Window and Nosferatu references made me squeal with delight.

This kind of blatant, sarcastic pastiche was missing from Fright Night 2011.  Though the narrative itself was arranged in a more cohesive manner, the self-aware dimension and horror influenced made the characters seemed tired and bored rather than the ironic ease and mischievous as their 80s counterparts.

McLovin, I mean, Christopher Mintz-Plasse and Colin Farrell had the most fun Fright Night 2011.  Far from the suggestion that Farrell could not muster the ability to truly intimidate, Farrell's Jerry embraced a far darker character than Chris Sarandon managed to establish.  Jerry a la 2011 is far more calculating, and let's be honest subtle.  Sarandon, next time you help yourself to a bite of naked prostitute, try closing the curtains.  Respect your neighbours.  Especially the horny teenager next door.

Jerry in 2011 is flirtatious, but a man on a mission, without giving away too much, this Jerry has a major evil plan, a character arc all of his own, which lends a dimension lost in Sarandon's suave Yuppie Jerry.

2011, while overall a film of quality entertainment, suffers in the same way that many modern films do, its over-reliance on both modern technology and techniques. The overt product placement, such as when teen Charley uses a handy iPhone app to get tips on how to pick a lock, and the of course the CGI that overwhelms.  Though this movie is no Transformers.  Our eyes are not assaulted with a deluge of stark images.  However the Jerry of 1985 is more impressive in a creative sense, the transformation into full-blown creature of the night is so visceral it is that much more believable.  Jerry of 2011 looks like a deranged Hulk.

Sarandon:

Farrell:

Fright Night, both films, are now firmly planted among my favourite of the vampire genre.  For their postmodern awareness of the milieu alone they control the narrative as no other has since Nosferatu, the original and the brilliant.  So go, go have yourself a Frightful Night.