Renfield is not the next great Dracula adaptation, nor is it really a film that’s going to smash box office records or win any awards. The conceit is admittedly pretty dumb, the writing often clunky, and the acting overwrought. Renfield is not one of those thought-provoking indie horrors that subverts the genre, nor is it a refreshingly stylish work by a talented auteur.
What it is, however, is a movie that had me grinning ear to ear until my face hurt.
Renfield is a joyous, campy horror comedy that is here to slay. The movie is loosely based on Bram Stoker’s Dracula in that it features two of the characters from the novel: Count Dracula (Nicolas Cage) and R. M. Renfield (Nicholas Hoult). Other than the names and some basic traits, however, this story doesn’t have much in common with the 1897 Gothic horror. It’s its own thing, for better or worse.
Renfield Channels B-Movie Spirit
Renfield was directed by Chris McKay (The Tomorrow War, The Lego Movie), who leans a little too hard into the two-tone gel-light aesthetic. The film’s script was penned by Ryan Ridley (Rick & Morty, Community) from a story by Robert Kirkman (Invincible, The Walking Dead). Essentially, Renfield imagines Dracula and his familiar living in the 21st century, with a comedic spin; not unlike 2015’s Victor Frankenstein, Renfield is notable for making the fifth business assistant character the lead.
In Renfield, Dracula is once again regenerating after grievous injury with the aid of his faithful servant. Renfield, in turn, is learning that he might be in a toxic, co-dependent relationship, and is seeking ways to empower himself and improve his life. This new direction, however, puts him in the path of a dangerous gang, as well as the one uncorrupted cop trying to clean up the city: Officer Rebecca Quincy.
Renfield isn’t a fresh concept. The marketing’s aesthetic alone gives off What We Do In The Shadows vibes, and the film’s tone definitely seems inspired by the cult movie and spin-off FX series. Obviously, this hurts Renfield overall because it can feel derivative at times. Still, there’s enough talent on display to keep things interesting.
Renfield Gives Us The Dracula We Desperately Needed
Renfield (or “the Nic Cage Dracula movie,” which is how this will be remembered from now until infinity) is at its best when embracing camp. Cage skillfully balances his character’s over-the-top villainy with genuine menace. This is chewing scenery at its finest: Dracula is in turn captivating and charismatic. Cage approaches the role with an earnestness that has become uncommon in 2023; at a time when we can’t get away from quippy characters afraid to take their own movies too seriously, Nic Cage is going all-in on a very silly vampire baddie. And it works.
This supernatural horror comedy is packed with talent. Ben Schwartz (Sonic, House of Lies) plays Teddy Lobo, the son of a mob boss who acts as a foil for Renfield. Schwartz has limited range, but he was perfectly cast here; he plays a comedic arrogant man-child better than anyone in the biz (with the possible exception of Nick Kroll). Shohreh Aghdashloo was a pleasant surprise: she plays the matriarch of the Lobo crime family and is oozing with unctuousness and malice.
Hoult and Awkwafina (mostly) hold their own in a strong cast. Hoult is a handsome, quirky-charming sadboi, and his Renfield feels like the kind of character designed to sell merch to 14-year-old girls (think ’90s Johnny Depp, Robert Pattinson’s Edward in Twilight, or even the Once-ler from The Lorax). Awkwafina’s Rebecca, who is obviously original to this film, is the weakest — she’s not really a clear archetype like the villains, but she hasn’t been adequately fleshed out either.
Witty Details, But Needs Finesse
Much of the charm in Renfield comes from the small details. There are plenty of witty visual gags, like Dracula drinking a martini of blood with eyeballs instead of olives, or Teddy Lobo driving a car that has a decal of a (I think) a Chinese lion snorting cocaine. The flashback sequence in the beginning is filmed in the style of Universal’s 1931 Dracula, and the homage was both appropriate and deeply amusing. The sets are fun, and there’s a good use of color throughout. Where Renfield stumbles is in finesse. The basic elements are all there, but the assembly isn’t tight.
Much of the dialogue between Renfield and his newfound friend Rebecca feels wooden and repetitive — there’s far too much talk about heroes and villains, and not enough genuine statements rooted in tangible experience. The character motivation is told instead of shown (never a good sign), and the world-building is shallow. Is this our New Orleans? Is it an exaggerated version where crime runs the city like a real-life Gotham? The rules of this world are unclear, and that undermines suspense and tension.
The action sequences are fun and inventive: ample disgusting and exaggerated grind-house gore that takes on a satirical edge. They too, however, suffer from execution. The reliance on shaky cam distracts from the fight choreography, making it difficult to parse what’s happening. Regardless, these set pieces are a highlight of the film, perfectly complimenting Cage’s energy. Renfield is a thoroughly fun take on Dracula, offering audiences thrills, chills, and blood spills aplenty.
TVovermind Rating: 3/5
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