Review: 30 Minutes or Less

Rating: 15

Duration: 83 mins

When setting out to make an action-comedy cum heist movie, it's perhaps pinnacle to the film's credibility that the director hires a lead that can handle the role and, if need be, carry the film during the slower parts. Essential is our protagonist's ability to sustain audience's attention, whilst exuding a likable confidence in keeping with such fast-paced, comedic debauchery.

Unfortunately for director, Ruben Fleischer (Zombieland), and his lead Jesse Eisenberg, things here feel flat within the time period of the title. It begins with Nick (Eisenberg), going about his mundane job as a pizza delivery boy who earns just enough to get by, providing he delivers the goods within the price promise time of under 30 minutes. And it's fine as far as that goes; Eisenberg plays the timid loser well, as the opening scenes succeed in generating some laughs. Meanwhile two lay-about, deadbeats, Dwayne (Danny McBride) and Travis (Nick Swardson), are plotting to off the former's millionaire father to claim inheritance. They hatch a plan to force someone to rob a bank so they can pay hitman, Chango (Michael Peña), to carry out said hit, thus leaving them with their fortune. Naturally these two stories intertwine as they target Nick, strap a bomb to him and force him to steal 100 grand or he'll go kaboom. 

However, it's here that cracks begin to show. Eisenberg seems incapable of holding his own as a lead man, especially in a role that requires him to deviate from his typical persona. And it's a shame too, as he has proven his worth with notable performances in both Adventureland and The Social Network, but the character here really doesn't work for him.

Once we are introduced to best friend, Chet (Aziz Ansari), it's obvious the pair don't have any chemistry or natural comedic ability as Ansari often shouts his way through most scenes with copious amounts of swearing and shocked tone in his voice, which neither convinces nor entertains. Combine this with Eisenberg's lack of leading man credentials, we have to rely on the ever-present McBride and to his credit he does provide a majority of the laughs with dim-witted sidekick, Travis.

McBride is, at times, hilarious as he plays the arrogant, foul-mouthed role reminiscent of Kenny Powers in East Bound & Down with ease. Without his character and comedic prowess, the film would hit rock bottom for sure. The story climaxes within the first half of the short 83 minute duration and from then on drags as the predictable becomes laborious and more stupid as it heads towards an unlikely end.

Once we hit the half-way point peak, it's difficult to see where the story can go and it would appear the writer has similar issues too, as it feels hastily thrown together, with a daft outcome that offers little in terms of redeeming features or clarity for the characters and audiences alike. The problem is that we're just not invited to care about any of the cast involved as the lacklustre writing and, at times, directing isn't executed well. To add insult to injury, the title of the film isn't relevant past the opening set up and feels gimmicky, which makes you question writer, Michael Diliberti, and the disappointing effort from Fleischer, who so promisingly gave us the wonderfully sharp and witty, Zombieland.

30 Minutes or Less has an interesting premise to it, but due to a half-arsed script and not-so-funny jokes, can leave you feeling short changed. The first half entertains, but sets itself up too early on, as the second half falls flat and becomes a strain. The flaws and sloppiness are all too visible, as is the cast's inability to gel, but McBride heads up the rescue mission as he steals the film with his one liners and angry-comedy. Unfortunately he cannot do enough to lift this from the title of mediocrity it most certainly merits.

★★

Review: The Inbetweeners Movie

Rating: 15

Duration: 97 mins

Inevitably we are presented with a film version of the successful Channel 4 show that has recently concluded its third series. Such progression was to be expected as we are gifted with a UK version of American Pie, involving hapless quartet, Will (Simon Bird), Jay (James Buckley), Simon (Joe Thomas) and Neil (Blake Harrison), desperate to 'party hard' on a holiday of sun, booze and lady folk, in an attempt to lose one's virginity before University.

Whilst there are some very funny moments such as a Neil-inspired group dance, a feeble public disagreement between Simon and Jay and an unfortunately located ant-hill where the latter drunkenly decides to sleep, the obligatory toilet jokes and frivolity that accompany it feel a little stale and wear thin quickly. The series was a hit due to the bond between the friends, but whilst that element is here, it feels heavy handed and doesn't ignite the same spark.

As you'd expect, the boys are the most developed of the script's characters, yet others feel clumsily written, such as Simon's ongoing love infatuation, Carli (Emily Head), who assumes a different, and frankly unlikable, persona to her show counterpart. Similarly the bullies of the piece are paper thin, written very one-dimensionally and the girls acting as our protagonist's romantic interests are simply bad actors. This makes the plot painfully obvious as to its outcome as we endure bland and all-too-serious, dialogue-heavy moments. The balance isn't quite right, as it comes across as more of a drama than a comedy. There's too many one-on-one scenes that oddly lack any background sound, often giving it a sterile, studio-feel to what were intended as emotional turning points.

The story doesn't follow any particular narrative direction with a synopsis that can amount to 'a group of lads on holiday having a laugh', which might suffice for some, but will bore others; you'll begin to laugh for the sake of laughing. Smaller, more manageable episodes prove more effective than this feature as the story drags exuding bursts of charm, which save it from being labelled a terrible film.

The Inbetweeners Movie is a mildly amusing, throw-away comedy that doesn't live up to the high standards of the TV show, nor is it as well written. It'll entertain fans and those looking for something home-grown to see this year.

★★

Preview: London Film Festival 2011 - Top 10 To Watch

I'll cut straight to the chase. It was with a sense of optimism that I opened the press email for this October's London Film Festival (12th-27th) that included details for the 55th annual event. It'll host 204 features over 16 days, screening 13 World Premieres, 18 International Premieres and 22 European Premieres, which has naturally created quite a buzz on Twitter with the collection on offer.

As per August's Empire Presents BIG SCREEN, I shall be attending as press for Live For Films with the intention of seeing as many films as humanly possible. Suffice to say I am very excited having read the festival programme, so take a peek at some I've spotted...

#10. THE FUTURE

Director: Miranda July

Stars: Miranda July

Synopsis: When a couple decides to adopt a stray cat their perspective on life changes radically, literally altering the course of time and space and testing their faith in each other and themselves.

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#9. THE IDES OF MARCH 

Director: George Clooney 

Stars: George Clooney, Ryan Gosling, Philip Seymour Hoffman, Paul Giamatti 

Synopsis: An idealistic staffer for a newbie presidential candidate gets a crash course on dirty politics during his stint on the campaign trail. Based on the play by Beau Willimon.

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#8. ALPS

Director: Giorgos Lanthimmos

Stars: Aris Servetalis, Johnny Vekris

Synopsis: Adhering to a set of rules, a group of people offer themselves to fill the void during the mourning period for recently bereaved families.

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#7. A DANGEROUS METHOD

Director: David Cronenberg 

Stars: Michael Fassbender, Keira Knightley, Viggo Mortensen

Synopsis: A look at how the intense relationship between Carl Jung and Sigmund Freud gives birth to psychoanalysis.

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#6. SHAME

Director: Steve McQueen

Stars: Michael Fassbender, Carey Mulligan 

Synopsis: A drama centered on 30-something Brandon, his myriad sexual escapades, and what happens when his wayward younger sister moves in with him.

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#5. SNOWTOWN

Director: Justin Kurzel

Stars: Daniel Henshall, Lucas Pittaway

Synopsis: When 16 year-old Jamie begins a friendship with a charismatic man, his world becomes threatened by his loyalty and fear of his newfound father figure, John Bunting: Australia's most notorious serial killer.

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#4. 50/50

Director: Jonathan Levine

Stars: Joseph Gordon-Levitt, Seth Rogen

Synopsis: A comedic account of a 27-year-old guy's cancer diagnosis, and his subsequent struggle to beat the disease.

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#3. WE NEED TO TALK ABOUT KEVIN

Director: Lynne Ramsey

Stars: Tilda Swinton, John C. Riley

Synopsis: The mother of a teenage boy who went on a high-school killing spree tries to deal with her grief -- and feelings of responsibility for her child's actions -- by writing to her estranged husband.

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#2. THE ARTIST

Director: Michel Hazanavicius

Stars: Jean Dujardin, Berenice Bejo

Synopsis: Hollywood, 1927: As silent movie star George Valentin wonders if the arrival of talking pictures will cause him to fade into oblivion, he sparks with Peppy Miller, a young dancer set for a big break.

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#1. TAKE SHELTER

Director: Jeff Nicols

Stars: Michael Shannon, Jessica Chastain

Synopsis: Plagued by a series of apocalyptic visions, a young husband and father questions whether to shelter his family from a coming storm, or from himself.

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Synopsis Sources: Internet Movie Database 

Photos: Google Images

Review: Troll Hunter

Rating: 15

Duration: 103 mins

Its existence has been known in the UK for just under a year now and with an imminent, albeit limited release, we can finally bear witness to one of the year's most intriguing films currently out there.

Cinema has seen its fair share of 'found-footage' movies over the years, stemming from the iconic, micro-budgeted The Blair Witch Project way back in '99. Its massive success inevitably spawned a host of imitators, with successes that include [REC] and Paranormal Activity (along with their respective sequels), proving the genre still has potential.

Troll Hunter adopts this premise and adds to it. Norwegian writer/director André Øvredal adds a much needed tongue-in-cheek, surrealist edge. The film opens with an obligatory paragraph informing audiences of the ‘recovered footage and edited together' spiel that could even be perceived as an ironic pop at itself. In fact, the film frequently gels moments of sweat induced tension with laugh-out-loud hilarity, ranging from the dangers of being trapped in a troll-inhabited cave, to a hilarious-looking anti-troll suit, to grotesque, close-quarters troll flatulence.

The way audiences will engage with it is open to debate and where you hail from will determine how the film is read. The promotion in its native country was clever: teaser material at the forefront of the movie's promotional campaign denied viewers even a glimpse of a troll until the eve of its release. Indeed, it might feel like a completely serious film to a Norwegian audience due to its inherent Scandinavian folklore embedded within. To others, notably UK dwellers, the event feels like a well balanced parody bubbling beneath a fundamentally earnest exploration of fairy tale cum reality. Whatever the intentions of the film makers, Troll Hunter succeeds tremendously as a deadpan affair that appears to subtly mock itself.

As far as the story is concerned, it won’t initially surprise. It's obvious a trio of investigative students - Thomas (Glenn Erland Tosterud), Johanna (Johanna Mørc) and Kalle (Tomas Alf Larsen) – aren't tailing an illegal bear hunter as first suspected. In fact, their mysterious target, Hans (Otto Jespersen), is a covert troll enforcer, who keeps the beasties in order and within their respective territories. Dotted throughout the narrative are contributions from other characters, including a shifty wildlife trustee, as well as some comedically-enthralling, linguistically-challenged associates, as the plot unfolds and allows Hans to reveal more about the secret world of troll hunting.

Troll Hunter is different to the likes of The Blair Witch Project in the sense that, contrary to its genre, it doesn't set out to terrify you: early on we witness one of the monsters in all its glory, subsequently getting various glimpses of others, which are un-obscured and in full shot. It is this overt approach that alters the dynamic from scares to adventure, as ambiguity is substituted for full on troll exposure.

The CGI depicts the creatures in a satisfying way, too. Appearances differ depending on breed (mountain or woodland) and whilst they aren't about to fool anyone, they do a surprisingly effective job of fitting in both contextually and tonally. To the film’s credit, they're aesthetically pleasing considering the budget - their presence evokes a different sort of tension from aforementioned comparisons.

The acting is adequate and is accentuated with some amusingly set up scenes as the characters walk a fine line of dramatic and tongue-in-cheek. At times they play up to the camera: engage in banter and act in a self -aware way, which adds to the audience’s scepticism over the film’s intention.

One of the elements that give the film belonging to the real world setting is with its breathtaking landscapes and the cinematography that captures it: from the snowy wilderness, to the dense woodland, it all looks wonderful and exudes an exciting atmosphere of a mythical species existing.

Troll Hunter is a hugely entertaining film that avoids falling into the generic pitfalls. It provides escapism, excitement and a massive sense of adventure, as we follow the students following the expert who inadvertently antagonises these beasties. The film treads a pensive line and whether it’s acknowledged as a parody or not, it does a great job of provoking the question. Troll Hunter is a movie that invites us on a journey to transcend fact and fiction and embrace a fairytale culture that takes you on a thrilling, as well as exhilarating hunt.

★★★★

Review: Kill List

Rating: 18

Duration: 95 mins

You wait around for ages and then a few come at once. No, not buses, but British films. 2011 has proven a respectable year for acclaimed, home-grown cinema with Oscar-gobbler The King's Speech, followed by indie hit Submarine, and most recently the superb Tyrannosaur.

It's not unthinkable to mention Ben Wheatley's sophomore effort in the same breath, either. Kill List is the writer/director's follow up to engaging, yet underrated crime/comedy Down Terrace and couldn't be more anti-Hollywood if it tried. The antisocial realism and gritty authenticity he harnesses in his debut recur in a film already gaining praise for its boldness. 

Wheatley's underlining themes of friendship and family seep through into the picture's edgy and intense set up: married couple Jay (Neil Maskell), and Shel (MyAnna Buring), are going through somewhat of a rough patch as they bring up their young son, Sam (Harry Simpson). Encouraged by colleague and close friend Gal (Michael Smiley), Jay is pressured into doing a job that places the title into context. What takes place thereafter begins as fairly routine stuff, but quickly mutates into something fractured and, at times, disturbing. Indeed it would be unfair to divulge too much information, but Kill List is a one-off: something special and rarely seen in cinema today. The narrative takes its audience down a dark tunnel of bizarre and shockingly graphic progression that'll no doubt leave you with a sense of disbelief long after.

Technically, the film is spot on: it's directed in such a confidently affirmed manner that it's hard not to appreciate what's on offer, even if such an affable approach is harshly juxtaposed by depictions of grotesque violence as such gratuity is handled with impeccable poise. The story flows with fluidity, complemented by a capable narrative to depict some truly powerful story telling. The script is finely tuned as with some of the most naturalistic dialogue you're likely to see this year, which is certainly one of Kill List's strengths; we are granted access into the lives of the characters, which feels voyeuristic in nature, as family dysfunctionality unravels.

Thanks to the superb writing, the characters are fleshed out and believably realised offering first-class naturalistic performances. Maskell and Smiley's laddish friendship serves to humorously detract when said pair get overzealous with one another. Similarly, Maskell's chemistry with onscreen partner Buring is excellent through times of embrace, argument and despair. The result is something that grips and engages as each scene feels intrinsic to reality, drawing you further into their quaint world.

Furthermore, as the story takes an odd twist here and there as logic is rendered obsolete in the scheme of things. The atmosphere is accentuated by a perfect score that generates smouldering tension as Jay and Gal edge closer to fulfilling their obligations, thus ridding themselves of affiliation with aging contractor simply known as The Client (Struan Rodger).

What plays out as a volatile hitman story suddenly breaks free of its genre constraints in the final third. It schizophrenically throws you into a bottomless pit of surreal horror. As well as the intensity cranking up several notches, a fear factor resonates in an effort to discombobulate entirely, not least its audience. Difficult to mention without revealing spoilers, Wheatley makes a conscious effort to distort the narrative as it draws to an ambiguous conclusion, but that's not to say it stutters in comparison to the rest of the film. In fact, it's a tremendously bold move that'll leave you to ponder during an inevitable post-cinema debate.

Never has a film left audiences with such an intriguing lack of clarity. Not since the obscurity of Donnie Darko has a film frazzled one's head so much, with plot threads and attempts at explanation becoming a point of speculation for days, if not weeks after. In short, Wheatley softly, softly, eases you into familiar territory- a setting that oozes realism, yet remains hard hitting- before punching you square in the face with an almighty mind-fuck-of-a-knuckle-sandwich. Nor does he hold qualms about grabbing you by the scruff of your neck, as he drags you down whatever path he deems fit and so forcefully does so that the assault on your logic makes you more than willing to venture into his twisted psyche than ever.

Inevitably the climax will leave some underwhelmed, however, what you're invited to do is to think outside the box and spruce some imagination rather than merely accepting obligatory spoon-fed answers used by many of its contemporaries. Sure, the final 20 minutes is disjointed and tonally feels  very separated and, while some will look upon this negatively, it is this commendable approach to film-making that'll leave you gasping in awe.

Kill List is a uniquely stylish, genre-hybrid-of-a-movie. Crafted as an emotionally gripping and ultra realistic piece of drama, it stands apart from other contemporary film as courageous and daring. British cinema has once again been elevated to the heights of decades gone by, with a perfectly executed and thought provoking story that feels utterly gripping.

★★★★★

Review: Being Sold

So far in 2011 British independent films are doing rather well, with recent hits such as The Guard and forthcoming crime/horror, Kill List, receiving critical acclaim, it's therefore only right to take note of other such efforts, albeit it on a smaller scale. Northern based writer/director, Phil Hawkins, proves that you need neither excessive budgets, nor an extensive shooting schedule to make a good feature film. The award winning, Being Sold, was filmed over a mere 48-hour period and is quite an achievement considering its 77-minute running time.

The story begins as a news crew pound the front door of unemployed and hung-over, John (Christopher Dane), who, in an inebriated state the night previous, places himself for sale on an online auction site. As the media and public gather, his problems are exacerbated by disgruntled wife, Lara (Eva Pope), as she pressures him to end the auction- and with it the debacle that is taking place on their lawn. The appealing option to John is to allow the bidding to play out in the hope of cashing in on his story and subsequent fame. This dilemma acts as a focal point, as does the fickle nature of society and indeed, the media that are hell bent on a scoop, as we are overtly exposed to the ruthless nature of said types, in the form of attractive reporter, Maia (Jessica Blake).

John's slobbish best friend, Chris (Lee Boardman), prove his worth as he provides a bulk of the laughs, as he effortlessly steals the scenes he's in, with a friendship reminiscent of Nick Frost and Simon Pegg in Shaun of the Dead. Other support hits the comedic mark in the shape of TV's Roy Walker as a Professor of, ahem, garbage, as a host of names make up the list, including Lesley Joseph, Terry Christian and Gordon Burns.

The story moves with momentum, only slowing on occasion during lengthy dialogue, until a pleasant twist concludes the proceedings. It makes for an interesting watch, as it delivers a message that 15-minutes of fame is precisely that, as an obsession for 'celebrity' and reality TV has warped the fragile minds of the masses.

Being Sold is well made, including a sharp edit and articulate direction; the film reads as a compelling social commentary and entertains simultaneously with a nicely devised script. The serious, mixed with the light-hearted works well; we see some genuine funny moments nicely dotted throughout. An impressive cast with an even more impressive shooting schedule certainly makes this an accomplished indie film worth seeing.

★★★

Review: Cowboys & Aliens

Rating: 12A
Duration: 118 mins

Earlier in the year I took a look at this summer’s potential big hitters. The three in question were Transformers: Dark of the Moon, which turned out to be one of the worst films of the year, Rise of the Planet of the Apes, in stark contrast was a massive surprise and, along with Super 8, remains my favourite of the summer months. The third was John Favreau's genre hybrid, Cowboys & Aliens. Initial responses to the trailers were largely positive and were further backed by an impressive cast that could outdo many of its competitors.

The success of Iron Man 2 grants its director, Faverau, the freedom to envision this western-cum-sci-fi, action-adventure based on the popular comic book series of the same name. What's more, with heavyweights such as Harrison Ford and Daniel Craig on board, it was hotly billed as 'Indy and Bond take on aliens in the wild west' - An interesting proposition indeed. With quality support in the shape of Sam Rockwell (Moon), Paul Dano (There Will Be Blood) and the inclusion of House hottie, Olivia Wilde, all seemed to point towards an exciting feature that would pull off the feat of achieving something truly great. However, Cowboys & Aliens couldn't be further from this.

Alarm bells will ring among the more perceptive of viewers as the writer credits roll with a whopping five names, which is never a good sign as such pessimism is justified, as tonally it is very unbalanced. The opening scene introduces us to Jake (Craig), who wakes up in the middle of nowhere, void of memory, with an alien-like bracelet clamped to his wrist. Dazed and confused, he makes his way into the town of Absolution, as his new accessory turns a few heads. Local girl, Ella (Wilde), is appears as a mysterious resident who, for reasons unknown, decides to pay particular attention to our befuddled cowboy. Woodrow Dolarhyde (Ford) enters the mix as tough talking, iron fist of the town, who pursues Jake after learning of the bounty on his head. Cue a standoff between the pair just as a swarm of alien crafts swoop over the town blowing up everything in sight and swiping various townsfolk, including Woodrow's son, Percy (Dano). This incident sets up a coalition between the two, and indeed the citizens in general, as they begin to track one injured alien back to base in order to rescue their captives. 

Craig's character initially looks confused as to his predicament, but this bewildered look is something that transpires throughout the entire film; seemingly he has little idea as to what is going on or what he should be doing. The same can be said when we meet the aptly named, Doc (Rockwell), the talent that built a name for himself in acclaimed indie, Moon, appears to have orders to act beneath his capabilities.

You takin' to me?: 'Bewildered' was one of the film's recurring themes

From the outset Ford looks like he's auditioning for a part in There Will Be Blood, complete with grumpy persona and oil tycoon attire to boot. Craig is lazily assembled too, presented as a run-of-the-mill cowboy wearing extremely tight pants, Toy Story's Woody comes across as a far more rounded and assured character than poor, misguided, Jake. After seeing gorgeous Olivia Wilde in The Change Up, she's more plain Jane than of the Calamity variety - the purpose of her inclusion is to create sexual magnetism with Jake and provide much needed eye candy, yet fails to do either.

In fact, establishing non complex, straight forward characters seems commonplace, as the performances never threaten to impress. Dano's turns in both Little Miss Sunshine and There Would Be Blood were superb but, like Rockwell, seem to be under instructions to act dumb as Woodrow’s loud mouth, bumbling son. Whether this simplicity is to remain in touch with the audience is debatable, but it prevents anyone from displaying any sort of depth. What is clear is that they needn't have assembled such a prestigious cast to portray lowly, one dimensional nobodies that lack any charm or charisma, that's for sure.

With promises of an intriguing western mixed with high octane sci-fi, the story actually plods along at a mule’s pace, with few alien based scenes until the latter stages. Favreau fails to splice the genres successfully, which leaves us with a fabricated and lifeless tale that, at the very least, could have taken some inspiration from the likes of True Grit or Meek's Cutoff in terms of creating an authentic American West. 

Script wise, it's sluggish and unsure of its intentions. There's nothing solid to progress with and offers the patient audience little reward. Inexplicable logic, plot twists and sillyness means you'll simply switch off as the final revelations will leave you questioning what the point was and indeed, who it is really aimed at; the conclusion is so misjudged and illogical it'll have you scratching your head until you realise how bullshit the script actually is.

Dazed & Confused: Craig wakes up to discover filming had already begun

The second major problem, other than the bad script, is its director. Favreau doesn't bode a particularly impressive CV and the manner in which he conducts proceedings only proves how out of his depth he is. Somehow he excels in rendering every character, including the leads, into limp, unlikable protagonists suffocated with misdirection, poor dialogue and cheesy scenes that ultimately break the film.

Favreau succeeds in alienating (if you'll excuse the pun) audiences, as our leads fail to engage and in truth you'll stop rooting for them within the first half hour. 

The aesthetic of CGI aliens have been the subject of much debate over the summer (notably Super 8) and in keeping with the rest of the experience, Cowboys & Aliens gives us run of the mill, mediocrity. Unimaginative creatures that resemble the gruesomeness of classic Aliens nasties; they possess limb extensions that break out from their bellies, as it fails to create anywhere near as much fear as the iconic horrors it attempts to rip off. The visual style isn't contextualised and further serves in shattering any illusion that it's a story set in 1873, reminding us of a modern film intending to recreate.

Cowboys & Aliens spectacularly fails to live up to its early promise. The whole thing quickly becomes lost in itself as it doesn't know what wants to do, let alone say. Everything from the acting, to the script, to the direction is below par, as is the ludicrous plot holes and revelations, which further suggest this was too big of a project for Favreau. Instead of containing meaning or logic, it opts for a unintelligent, yet accessible movie, which is a letdown considering what it could have been. Other than an intriguing premise, a few entertaining action sequences and acceptable CGI, there's really nothing else worth seeing here.

★

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Check out my other reviews from Empire's BIG SCREEN at Live For Films

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Review: Fright Night 3D

Rating: 15
Duration: 106 mins

Hollywood horror has more often than not, been a bitter pill to swallow. Rarely does it manage to embrace the terrifying with the credible, thus a rise in success in horror sub genres, like Wes Craven pastiche, Scream, and more recently, the overt spoof franchise of Scary Movie. It was therefore just a matter of time before a light bulb illuminated in the mind of an industry big wig, to green light a remake of Tom Holland's 80's cult, comedy horror, Fright Night.

This review shan't compare this version to the '85 original, in an attempt to objectify this entry as an individual entity. Frankly, it becomes tiresome having to compare and contrast old and new, so shall cease to do so beyond this paragraph. The plots set up and conclude similarly, yet spirals off in the middle. All of this being irrelevant though, as we are presented with exactly the same, neatly formed outcome with a few alternative bumps in the night along the way.

When all-American teen, Charley (Anton Yelchin) is convinced by paranoid friend, Ed (Christopher Mintz-Plasse), that his new neighbour, Jerry (Colin Farrell), is a vampire, his mum (Toni Collette), nor the out-of-his-league girlfriend, (Imogen Poots), buy into his absurd claims. Set in Vegas, where its residents work nocturnal hours and hibernate in the day; it's the perfect cover for Jerry's night-walking antics. Cue some prepubescent snooping that alerts him to Charley and Ed's Scooby-like shenanigans. From this point on, Jerry plays a calculated game of invite-me-inside-or-suffer-the-deadly-consequences, as Charley tries in vain to protect the oblivious people in his life. When hope appears lost, he consults the only person he believes can aid him in ridding the place of the increasing army of neck biters- Peter Vincent, played by David Tennant.

As momentum builds, Vincent is properly introduced as a renowned Vegas performer and self proclaimed vamp hunter. His persona, whilst amusing, feels all too familiar in a pond-hoping, Russell Brand mold. His hair-do and facial growth even resembles Brand and tastes a little stale, considering the build up to his character's appearance. Thankfully Tennant grows into the role quickly, as he looks assured with clever dialogue; funny quips and scene stealing witticisms, which evoke many of the laughs, yet one can't help but denounce his casting as a tad gimmicky, in fitting with the film itself.

Aside from the obligatory jumps and scares is the surprise at how quickly the plot speeds towards setting up its climax. Before we even reach the half way mark, Jerry is already rampaging after these hapless mortals, which bemuses as to where the remaining 45-minutes will take us. By no means a traditionally paced script, it certainly gets ahead of itself and fails to play on the notion of how long Jerry can keep his secret, before his blood sucking tendencies are revealed, which feels like somewhat of a missed opportunity.

The most notable aspect is that director, Craig Gillespie, makes conscious references to its tongue in cheek nature, whilst blending it with a genuine acknowledgment towards serious scares.  Protagonists Charley and Vincent are presented in stark contrast to one another. The first is a straight-and-narrow teen, void of discernible qualities, whereas the latter is an over the top, whiskey glugging, eccentric, potty mouth. Furthermore, Farrell offers an altogether different angle; a perfect tongue in cheek, yet semi-serious performance, which proves the strongest of the lot. His subtle act only accentuates his witty lines, generating some genuine laughs with his pinpoint delivery, amidst a largely lacklustre script, often relying on inane dialogue to fill the gaps between the too-few-and-far-between entertaining scenes.

The supporting cast manage to sustain the story, but offer little, apart from the an in-form Mintz-Plasse, who replicates traits of his most recognised role as Superbad's Fogell, aka, McLovin', brilliantly. It works in conjunction to clean-cut, Charley, yet the script deems his presence unnecessary as the story progresses.

Fans of the genre and the original, as well as Tennant, are likely to gain more from the experience than others. It's engaging at times and non forceful in it's nature, as Fright Night entertains, but comes with its share of faults too. Logistically speaking, the plot is its weak element, as we are left to ponder over Jerry's motivations and why he becomes obsessed with killing the folks next door, when surely he has more important concerns, i.e. avoid arousing suspicion of his blood lusting ways. Maybe his vampish intuition knows something we don't, yet ceases to share justification in the pursuit of a lonely, single mum and two naive high schoolers.

It's important not to read too much into proceedings though, as it'll only leave you scratching your head. In terms of describing it as good, old-fashioned fun, it's more than worthy of the definition. However, in 2011 where all forms of the horror (sub) genre are exhausted; squeezed dry of sequels and prequels, and remade for good measure, Fright Night proves hard to differentiate from anything else seen before.

The conclusion plays out very formulaic; it's structured in an obvious manner. It conforms traditionally, as all plot holes and anomalies are tied up neatly- a little too neatly in honesty, as it surrenders any climactic suspense in favour of predictability.

The use of 3D is as saturated now as it has ever been, but saying this, it works in a way that amicably accentuates the experience. It's used overtly as a gimmick in the hope of adding to the films 'fun' intentions.

Fright Night is hit and miss; at times it's funny, even hilarious, especially with a well balanced performance from Colin Farrell, but unfortunately it's weighed down by a confused script and, more-often-than-not, lazy dialogue. It loses direction and urgency far too quickly considering the genre, as it plods towards an inevitable conclusion. First-timer, Tennant, performs adequately as he asserts himself into the thick of the action, but displays an inability to distinguish himself as something other than the Brit-breaking-Hollywood. Fright Night won't share the success of Scream or Scary Movie, but will fall into the sea of mediocrity with ease. As a horror-comedy cum homage, it's not bad, but then again, it ain't that great either.
★★

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