Page 18 THE VILLADOM TIMES II & IV • August 31, 2011 Latest vampire tale, ‘Fright Night,’ falls short by Dennis Seuling Vampires in the movies have a long, distinguished tradition, from the German “Nosferatu” (1922) to the current proliferation of TV vampires, hip vampires, and vampires of pop fiction. The enduring appeal of the vampire -- a nocturnal creature that must have human blood to survive and can only be destroyed by ritualistic means -- is its ability to take human form and blend in, waiting for the right moment to pounce. Like a professional grifter, a vampire lures, charms, and finally makes its move, transforming its victim in the process. “Fright Night,” a remake of the 1985 flick that took cinema’s vampire lore and transferred it to a contemporary American setting, aims high in its casting of the film’s nextdoor vampire, Jerry. Colin Farrell plays the part with dark brooding, understated pain, and some sex appeal tossed in for good measure. Charley Brewster (Anton Yelchin) is a high school student who lives with his mom (Toni Collette) in Las Vegas. Charley’s longtime nerdy best friend, Ed (Christopher Mintz-Plasse), comes to Charley alleging that Charley’s new neighbor is a vampire. He only seems to come out at night. A few cell phone photos reveal some odd behavior. Ed also reminds Charley of how many kids in their class have been absent lately. But Charley brushes off Ed and his suspicions, since he is eager to have Amy (Imogen Poots) notice him. Appearing cool is far more important to Charley than investigating a would-be Vegas vampire. Director Craig Gillespie creates an imaginative cinematic stew, trotting out familiar vampire behavior with a few new touches, staying true to vampire tradition and keeping it fresh for a contemporary audience. Vampires 101 tells us a vampire cannot harm you unless it is invited in, a bit of lore that figures prominently. The 3D effects are routine, with Gillespie infatuated with having blood spurt toward the camera at several points in the film. It’s a pity that so many directors use 3D as a gimmick to boost ticket prices rather than incorporate it in Charley (Anton Yelchin) and Amy (Imogen Poots) observe odd goings-on next door in ‘Fright Night.’ original ways. A climactic sequence, for instance, could have benefited from the technique if the camera took its time peering around objects and building suspense in the process. A cliché of horror flicks is the cat that jumps from out of frame with a loud “meow” as the audience jumps. But a variation of this trick could be accomplished with oddshaped objects popping in and out of frame. Farrell ranks about a five on a Vampire Scale of one to 10. He doesn’t convey sufficient menace and never fully inhabits the role. In a few scenes, he looks as if he is embarrassed to be in the movie. The best movie vampires are the ones who embrace the role unequivocally. Think Bela Lugosi (“Dracula,” 1931), Christopher Lee (“Horror of Dracula,” 1958), Kiefer Sutherland (“The Lost Boys,” 1987), and Gary Oldman (“Dracula,” 1992). Farrell looks as if he is slumming. (continued on Crossword page)