The scenario seems ripe for both comedy and horror as two star-crossed vampires find themselves in the modern world, and one of them becomes enamored of a young doctor who has a different perspective on the condition. Filmmaker Daniel Taplitz and screenwriter Anne Beatts whipped up some very clever scene writing and dialogue, with swell ideas mixing up the vampires' outmoded conceptions of the world and the modern person's misunderstanding of what seems to have some other explanation. Hot on the heels of her starring turn in 'The living daylights' Maryam d'Abo is wonderfully charming as Angelique, with just the right measures of finessed poise and personality to make her mark; Ben Cross is notably more forceful as villainous Vlad, and he's clearly reveling in the imperious, dramatic overtones of the part. In supporting parts of varying size Camille Saviola and Keith Szarabajka are delights as they complement d'Abo and serve somewhat as foils in any given scene, and meanwhile this is fairly well made overall, with commendable contributions from all those operating behind the scenes. By all reason 'Nightlife' seems primed to be a good time. And it is! But it's it's also definitely not without some issues that drag down the viewing experience.
The pacing is weirdly soft, often to the point that it feels like the playback speed was reduced by ten percent or so. That pacing sometimes impacts the comedic timing in turn, or falsely heightens Cross' monologuing as Vlad into chewing of scenery; alternatively, some moments are boisterous or silly to an extent that feels out of character with what is otherwise a weirdly soft tone. Case in point, for as clever as the mix of horror and comedy is here, the movie took about forty-five minutes (nearly half the runtime) to earn its first laugh. In a similar manner, where the picture embraces abject horror vibes (the first time especially), something feels indescribably off; it's not just that Taplitz has difficulty bringing the horror to bear, but also that the fundamental arrangement of elements - camera, makeup, lighting, music, acting - is swirled together incongruously. Fine as Szarabajka is generally his acting is also the least consistent; I adore d'Abo, but she struggles somewhat to make the monstrous side of Angelique more than just a caricature. And there are some scenes, particularly in the back end, where tonal issues culminate in a slurry of the two composite genres that can't seem to figure out at all what it wanted to be in the moment.
The practical effects and special makeup are outstanding, and the sets; I appreciate Dana Kaproff's original music that complements the gently shifting mood. There are select times when Taplitz's direction, Peter Fernberger's cinematography, and every other element comes together for a shot of brilliance, and I'm stunned at how great it all looks for a brief moment. I'll note that it's a minor joy to see Glenn Shadix here (Otto in 'Beetlejuice'), and I wish he had a bigger part. By and large I think this is enjoyable, with a lot of points in its favor including the root ideas for the plot and scenes, and the cast. It's so regrettable that 'Nightlife' very distinctly has trouble discovering its ideal form, and for as earnestly as everyone tries, nothing comes out quite right. The comedy is rarely more than lightly amusing; the horror never strikes with the potency we'd hope, and the balance between the two facets comes across as kind of cockeyed, like a framed photo that never hangs on the wall the way it's supposed to. It's worth checking out on its own merits, and it's definitely suggested most highly for those who are fans of d'Abo, Cross, or someone else involved. It's difficult to give a more robust recommendation, though, for as sadly middling as the end result is. It's evident all on hand had fun making it, and I'm glad for those who get more out of 'Nightlife' than I do; I wish I could feel the same way.
The pacing is weirdly soft, often to the point that it feels like the playback speed was reduced by ten percent or so. That pacing sometimes impacts the comedic timing in turn, or falsely heightens Cross' monologuing as Vlad into chewing of scenery; alternatively, some moments are boisterous or silly to an extent that feels out of character with what is otherwise a weirdly soft tone. Case in point, for as clever as the mix of horror and comedy is here, the movie took about forty-five minutes (nearly half the runtime) to earn its first laugh. In a similar manner, where the picture embraces abject horror vibes (the first time especially), something feels indescribably off; it's not just that Taplitz has difficulty bringing the horror to bear, but also that the fundamental arrangement of elements - camera, makeup, lighting, music, acting - is swirled together incongruously. Fine as Szarabajka is generally his acting is also the least consistent; I adore d'Abo, but she struggles somewhat to make the monstrous side of Angelique more than just a caricature. And there are some scenes, particularly in the back end, where tonal issues culminate in a slurry of the two composite genres that can't seem to figure out at all what it wanted to be in the moment.
The practical effects and special makeup are outstanding, and the sets; I appreciate Dana Kaproff's original music that complements the gently shifting mood. There are select times when Taplitz's direction, Peter Fernberger's cinematography, and every other element comes together for a shot of brilliance, and I'm stunned at how great it all looks for a brief moment. I'll note that it's a minor joy to see Glenn Shadix here (Otto in 'Beetlejuice'), and I wish he had a bigger part. By and large I think this is enjoyable, with a lot of points in its favor including the root ideas for the plot and scenes, and the cast. It's so regrettable that 'Nightlife' very distinctly has trouble discovering its ideal form, and for as earnestly as everyone tries, nothing comes out quite right. The comedy is rarely more than lightly amusing; the horror never strikes with the potency we'd hope, and the balance between the two facets comes across as kind of cockeyed, like a framed photo that never hangs on the wall the way it's supposed to. It's worth checking out on its own merits, and it's definitely suggested most highly for those who are fans of d'Abo, Cross, or someone else involved. It's difficult to give a more robust recommendation, though, for as sadly middling as the end result is. It's evident all on hand had fun making it, and I'm glad for those who get more out of 'Nightlife' than I do; I wish I could feel the same way.