Fright Night (2011) | Review by Hannah Brooks-Motl
I saw Fright Night 3D on the sensible, square-toed, vaguely designer heels of The Debt. I saw The Debt on the trendy and brandless stilettos of One Day. Thus, I was prepared to endure yet one more sphincter-pinching round of the hot, stinky case of IBS that is Hollywood’s late summer. And yet…something felt almost cool, and nearly refreshing, as I moved my mouth around some popcorn, at once taking in awesomely effective squirts of Sprite and the crispy little tapas of subdivision that graces the film’s opening. Mark will say that FN3D suffered from a droopy diaper of a first act. And yet…I rather liked the scenes of the baked cow-patty of houses flung out into the distance of desert, the lights of Vegas glinting menacingly over the horizon. Though perhaps too much is made of the susceptibility of a “transient population of Las Vegas” to vampires, and the perfect cover that population offers because “they work at night and sleep during the day,” and too often, FN3D earns props for neither overdoing its nascent social commentary, nor indulging too indulgently in the meta-narrative that is de rigeur for horror flicks. Twilight gets its kudos, and some limited fun comes out of guessing which vampire tricks actually work in FN3D’s purposefully bland little world, but the greatness of this movie lies not so much in its willingness to inflect other movies as it does in its tentative steps into a world of its own.
I haven’t seen the original and have no plans to. What I liked about this Fright Night was its ranginess, its ability to juggle competing genres on their own terms. There is comic relief and something maybe kinda sorta about…the internet? our culture’s love affair with vibrant, freakish displays?…in the person of someone who is obviously supposed to be and yet is just as assuredly not Russell Brand. Or Johnny Depp. Or Keith Richards playing an old Johnny Depp playing a young Keith Richards. With Russell Brand on a bicycle doing coke off a tiny bicycle-sized rearview mirror in the background. Whatever. I really, really liked this movie’s willingness to call a spade a spade and go balls-to-the-wall on the casual misogyny. There is a scene were Colin “Feral” attempts to intimidate the main character, but cannot go inside because he hasn’t been invited in (score: that Swedish movie). So he lurks at the kitchen’s edge, pacing a bit and sniffing the air, describing the various scents the main women characters in the film give off. It doesn’t look much like he’s acting. And yet the women are allowed to be charactersas well. They don’t just get talked about and done shit to, they talk and do as well. It’s like: women get fucked, but whatever. When the final credits rolled to some sample of “99 Problems” I realized that I had just watched the nearest thing to cinema verite the vapid, desultory end of Hollywood summer season had to offer.