Neil Fox on film (31.08.11)

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Fright Night 3D

Another remake of a 1980s movie? Surely not.

I mean, it was only last week I was moaning about the rehash of Conan The Barbarian.

Alas, it is another remake – but thankfully this is one that doesn’t completely disappoint.

It’s helped thanks to a strong cast and a modern edge.

Yes, it would be nice to be reviewing an original horror movie.

But the days of reviewing original films and not remakes, sequels or derivatives seem long gone for me.

The story involves a teenage boy (Anton Yelchin, Star Trek) who becomes convinced his neighbour, played by Colin Farrell, is a vampire.

No one believes him so he calls upon a strange man who claims to be a vampire killer, played by David Tennant, aiming to kindle a career post Doctor Who.

It’s uneven and amusing more than truly scary and that’s due to the stars having a lot of fun and giving it a real go.

Farrell in particular keeps his renaissance going with a committed turn, even if he isn’t quite right for the role.

It’s inoffensive stuff and passes the time, but like most consumables these days it’s utterly disposable. Nothing is built to last.

Apollo 18

This intriguing film is in the mould of the found footage style of Blair Witch Project and tells the story of a couple of astronauts on a doomed mission to the moon, on the titular Apollo 18.

It’s a great premise and the claustrophobic style aids the film somewhat, but it runs out of steam and doesn’t fulfil its promise.

Sadly, as it is an original concept it deserved better coverage, but the behemoth of trash that was Transformers 3 and its aliens on the moon storyline stole its thunder somewhat.

The Art Of Getting By

A talented young cast is somewhat wasted in this tepid but not awful teen movie.

Freddie Highmore (Finding Neverland, Charlie And The Chocolate Factory) comes of age as a brooding, isolated young man who finds solace in the arms of a beautiful girl, who shares much of his personality.

It’s lightweight and squarely aimed at a teen market, which means it’s limiting and ultimately unfulfilling as a rounded film, but Highmore is promising in his transition from child star, which is never an easy move to make.