Liverpool Sound and Vision Rating 7/10

Cast: Nicholas Hoult, Nicolas Cage, Awkwafina, Ben Schwartz, Shorreh Aghdasloo, Brandon Scott Jones, Adrian Martinez, Camille Chen, Bess Rous, Jenna Kanell, Danya LaBelle, Rhonda Johnson, Christopher Matthew Cook, Michael P. Sullivan, Rosha Washington, James Moses Black, T.C. Matherne, Caroline Williams, Marcus Lewis, Derek Russo, Marvin Ross, Gabriel Rodriguez, Dave Davis, Keith Brooks, Joshua Mikel, Chloe Adona, Stephen Louis Grush, Christopher Winchester, John Cihangir, Krystal Tomlin, Camden McKinnon, William Ragsdale, Miles Doleac.

Of all of Bram Stoker’s character creations he weaved in his dark seductive tale of immortal evil and dedicated heroism against the unnatural forces at the command of one beast oozing ambiguous sexuality and raw power, it is perhaps to Renfield that the reader and cinema attendee can secretly feel more in tune with than other; for in Dracula’s misbegotten and damned familiar, we can see how power can corrupt with the promise of equality is madness when offered by the diseased and polluted of souls. 

Renfield is somewhat a character who has grown with time, originally serving as a vessel between the introduction of Dracula’s true power and the arrival of Jonathan Harker, never really given more form than what is intended. Yet over time itself, R.M. Renfield has been given greater insight, the being that reflects us in a state of confused possibility, the chance to be greater than what we are, and the realisation it will cost us more than we can ever imagine.

Chris McKay’s Renfield is not just a direct sequel to the early 1930s Dracula film with the great Bela Lugosi in the pivotal title role, it serves as perhaps a fine example of how to turn a secondary character into one of designated leading part, and still retain the emphasis of the earlier production. It is a rare ability to turn a character from one of explained characteristic and tool of narrative to one where the story written hangs on their every decision and thought.

Whilst Renfield is engaging, and wonderfully adept at giving the film lover the scare they require in which to place trust in another adaptation of the prince of darkness, it does lack in part a sense of accountability. Nicolas Cage is perfectly cast as Dracula, the wit and humour flowing just as well as any that have inhabited the cape; the issue perhaps lays at the feet of the supporting cast, all fine actors, all worthy of praise, but aside from Brandon Scott Jones as support leader Mark, the style of the rest of the cast seems to be missing a keen sense of irony in what is a comedy horror film that still requires gravitas and responsibility to the genre.

An entertaining film, full of superbly caught and defined action, just one that is missing that extra spark and fire in which to give it heart.

Ian D. Hall