RENFIELD (2023) Review

Review

It was 92 years ago that Universal Pictures first brought Dracula to our screens. Bela Lugosi’s staunch performance is nothing short of iconic. Setting a high bar for every actor to tackle the role in the years that followed. Serious or comedic, every screen Dracula owes the soul of their performance to Lugosi.

That 1931 original also introduced audiences to Dwight Frye as Renfield. A man who has business with Count Dracula, Renfield travels to Transylvania only to become the Count’s lunatic, bug-eating sidekick. The character is often a point of ridicule. A spineless wimp so lacking in strength of character that he puts up no resistance in giving his existence to Dracula.

Fast forward to 2023 and both characters are finding new life in horror-comedy Renfield, written by Ryan Ridley (Rick and Morty) and directed by Chris McKay (The Tomorrow War). The film subverts the classic genre, playing gore for comedy and finding humanity in their toxic relationship. In doing so it creates one of the most original presentations of the original Universal Monster in a century.

Though he isn’t the film’s lead, much of Renfield‘s success hangs on the shoulders of Nicolas Cage. Not known for subtle performances, Cage is a scenery chewer of the highest order and, like many, this left me skeptical. It’s best to describe his version of the character as a Dracula with Cage-like tendencies. He’s recognisable both as character and as actor with Cage dialling back much of his trademark schtick. In fact, the whole performance is surprisingly rather nuanced. It no doubt helps that for much of the film Cage is house within some incredible practical makeup.

Our introduction to Ridley and McKay’s comes in the form of narration from Renfield (Nicholas Hoult). The soon-to-be-former familiar has been attending regular group sessions to overcome his toxic relationship. Reflecting on decades of a life lost to servitude, Renfield is a superbly constructed, sympathetic and aspiring hero. With a major player like Cage playing a role Dracula anything less would be a disservice to a film titled after the character.

Renfield dose assume a relative understanding of both its lead and his toxic boss from its audience. Creatively the decision allows the film to jump to what it has decided is the more interesting story. Seeing Renfield asserting himself and striking out on his own. But for anyone coming to this film as perhaps a Cage or Hoult fan without prior knowledge of Dracula (the book and/or film) may struggle to connect with its overall message.

Part rom-com, part horror, the fusion of the two feels fresh thanks to its strong casting. Hoult and Cage both excel in their roles whilst Awkwafina attempts to slot in to an awkwardly written potential love-interest role. There’s a strange disconnect between what Renfield sets out to do with the pair and what it actually does. As they appear to grow closer Renfield suddenly pines for his lost wife and Rebecca makes clear her dedication to resolving a family grudge. The reluctance to fully embrace the concept that romance could exist between the two is perhaps the most perplexing aspect of the whole film.

What works whole-heartedly though is its dedication to provocative and stomach churning gore. Renfield isn’t a bear knuckle, ultra-violent thriller in the style of John Wick. Its violence is often used to comedic effect and punctuated with buckets of CGI blood. A moment glimpsed in the trailer where Renfield removes a gangster’s arms only to go on to use them as nunchucks is a prime example. Ridley’s script perfectly sets up delightfully gory scenarios which McKay deftly executes through his shooting style.

The fight sequences utilise plenty of wire stunts to create a more visceral reaction from the audience. Whilst the gore is amplified through visual effects, seeing the cast physically performing the action does help ground the film. Hoult fans will get a kick out of seeing him in a more physical role which still also relies on his boyish charms.

Credit is also due to a brilliantly cast Ben Schwartz and Shohreh Aghdashloo as Renfield‘s major supporting players. The mother-son mob duo roles sit well with both. Schwartz in particular is playing against type and it’s exciting to see what he can do with more gloomy material.

Verdict

Renfield takes a fresh bite out of the Dracula character with sharp humour and crowd-pleasing action. Though not all its elements come together perfectly, the final product is worth the ticket price even just for seeing Nicolas Cage losing himself in a literary legend.

⭐⭐⭐⭐