Renfield tells the story of Robert Montague Renfield (played by Nicholas Hoult), the immortal manservant to the legendary Count. After decades of subsisting on bugs while he sources human victims for his master, Renfield finds himself in hiding, contemplating his life choices. While nursing Dracula back to health, Renfield somewhat inadvertently comes to realize that he is in a co-dependent relationship with the narcissistic Prince of Darkness. Armed with affirmative mantras and bug-fueled superpowers, Renfield vows to break free from his toxic relationship once and for all.
Renfield had everything it needed to be great — but it kept adding more. A clever premise anchored by a star-studded cast is ultimately weighed down by trying to have it all. The horror/comedy written by Robert Kirkman (Invincible; The Walking Dead), Ryan Ridley (Rick and Morty; Community), and Ava Tramer (Central Park) delivers laughs, with self-aware meta-humor and plenty of winks to the audience. The horror ultimately serves the comedy, letting Dracula loose in a modern world and relishing the gory chaos that ensues. It’s obviously a successful formula, and yet there’s something off about it.
Chris McKay’s experience in directing visual and physical effects brings the movie world together, but the overpowering action and blood cause the movie to lose focus on its core. The action elements interrupt the interplay of the characters and break apart the film’s comedic sandbox. Overloaded with migraine-provoking shaky cam, the over-choreographed action spectacles detract from the film’s hilarity rather than reinforcing it. Kirkman and Ridley’s experience with comedic gore that works so well in animation haven’t translated as effectively into the realm of live-action — and there’s a lot of that brand of action to go around. Virtually every scene ends in one of these over-the-top set pieces. It’s too much of that one spice that overpowers the dish.
When the movie isn’t balls-to-the-wall combat, it’s actually full of careful and considerate filmmaking. Renfield’s director masterfully splices Tod Browning’s 1931 classic film, replacing Bela Lugosi’s iconic Dracula, and Dwight Frye’s Renfield with Cage and Hoult. The rest of the movie is filled with easter eggs nodding at previous incarnations of Dracula films and classic monster movies. It’s clear that McKay and the set designers did their homework. The gothic style of Dracula’s typical haunts is on full display, and costume designer Lisa Lovaas gives Drac the most fabulous costumes. There’s a modern take on the signature high-collared shirts and capes that’s equal parts dark prince and rock star. So fetch.
The cast is filled with multi-genre talent who look like they’re enjoying themselves, which is a real blessing. Hoult is one of the better and more balanced performances and does a great job making Renfield likable. Awkwafina’s acting is more of her natural comedic style, so if you like that you’re in for a treat. Ben Schwartz makes an appearance as one of the secondary villains and gives the small role his idea of going “full cage.” Brandon Scott Jones plays Mark, Renfield’s group therapy leader, and deserves a special shout-out for his hilarity in the small part. However, the rest of the cast doesn’t get much chance to sink their teeth into the material.
Nicolas Cage is the reason to see this movie, and his performance makes the whole film work. If it was any other actor in the role of Dracula, this movie would have failed. Cage’s “nouveau shamanic” acting style is what allows him to fully commit to both the serious and the over-the-top egomaniacal character. The actor has expressed wanting to play Dracula for a long time, and this performance shows why he is the perfect casting while also paying homage to the classic portrayals of Dracula, heavily leaning on the late Sir Christopher Lee’s iteration.
Despite not having a lot of screen time, there is the perfect amount of Cage-ula needed. You never grow tired of the character and are always left wanting more. The best scenes of the movie are when Cage is in them and there’s no action. Cage’s 100 per cent commitment brings the same levels out of the rest of the cast who try to match Cage’s shamanism when they share the spotlight.
Renfield is a decent movie that’s worth a watch for Cage’s Dracula alone, and there’s some hope that movie lovers will get more in the future. The practical props and costumes are sublime, and the script is clever and anchors a talented cast — but Cage is such a show-stealer that the scenes without him feel lacking. Its disjointed tone hurts the final product, but you can still enjoy what you’re getting, provided your expectations are sufficiently tempered. Ultimately, it might be more worthwhile to watch when it comes to streaming.
Score: 7/10
Teryn Midzain is an English Major with ambitious goals to write movies and a full-time nerd, whose personality and eccentrics run on high-octane like the cars he loves. More importantly, Teryn loves sports [Formula One], and doesn’t care who knows. When not creating and running deadly schemes in his D&D sessions, Teryn tries to reach the core of what makes the romantic and dramatic World of Sports, the characters and people that make the events so spectacular.
