Movie reviews: 'Renfield' updates and pays homage to the Dracula legend

'Wicked': 4 out of 5 stars Film critic Richard Crouse shares his take on newly-released movies including 'Wicked', 'Gladiator II' and more.

RENFIELD: 3 ½ STARS

"Renfield," a new horror comedy starring Nicholas Hoult as the beleaguered familiar to the Prince of Darkness (Nicolas Cage), pays homage to the menace of Universal's 1931 film "Dracula," while adding some fun with the addition of gory laughs.

Hoult is Robert Montagu Renfield, an assistant to the narcissistic Count Dracula, galvanized with just enough vampiric power to be able to subdue victims for his master's pleasure.

"Renfield," sneers Dracula, "your sole purpose is to serve me! Now let's eat!"

Together for almost 100 years, Renfield spent most of that time eating bugs and risking life and limb to provide for Dracula's voracious appetite. He's at his wit's end, but it's not until his latest job, looking for potential victims at a counselling group for people trapped in toxic relationships, turns from a hunting ground to a self-actualization session, that he has a moment of clarity.

"I will no longer tolerate abuse," he says, after listening to the stories shared by the group. "I deserve happiness."

His journey to a normal life begins with Rebecca Quincy (Awkwafina), a New Orleans traffic cop still stinging from the loss of her father at the hands of the violent Lobo crime family run by Ella (Shohreh Aghdashloo). When Renfield uses his Dracula-given powers to save Rebecca and others from mob enforcer Teddy Lobo (Ben Schwartz), he is seen as a hero for the first time in his life. Empowered, he now faces his greatest enemy, his employer Dracula.

"I will unleash an army of death," Dracula threatens. "Everyone you care about will suffer because you betrayed me."

Perhaps an alternate title for "Renfield" might have been "Dracula: I'm OK, You're OK." A mix of Bram Stoker and group therapy pioneer Joseph H. Pratt, it is a modern interpretation of the Dracula legend and therapeutic treatment that doesn't take itself too seriously. The blend of self-help and horror is absurd, but director Chris McKay keeps his foot on the pedal, barreling through the story and recreating vampire lore--in this version, for instance, eating bugs isn't a sign of madness, it gives Renfield superhero abilities—with the efficiency of Van Helsing's stake carver.

In on the fun are the dueling Nics, Hoult and Cage. This is the hapless Renfield's story, so his search for freedom and redemption takes a chomp out of the film's economical 90-minute running time, allowing Hoult to go from sniveling supernatural servant to empowered paladin at a quick pace. It's a fun, lightweight performance, that works whether he's opposite Awkwafina, who plays it broad, or Cage who is equal parts creepy, campy and dangerous.

With a mouthful of needle-like teeth, super-strength and an uncanny resemblance to Bela Lugosi, Cage sinks his teeth into Dracula in a performance that benefits from the actor's gonzo approach. He is supernatural, but his narcissistic "I'm the real victim here!" attitude is deeply human, often hilarious and is the lifeblood of the film.

"Renfield" is based on an original pitch by Robert Kirkman, co-creator of "The Walking Dead," so you know it will deliver the old-school splatter, but it is the way it updates and pays homage to the Dracula legend, filtered through some very dark comedy, that gives it its bite.

MAFIA MAMMA: 3 STARS

"Mafia Mamma," a new action comedy starring Toni Collette now playing in theatres, is a coming-of-middle-age story about a suburban woman who travels to Italy for the reading of her grandfather's will, and accidentally gets her groove back.

Collette is Kristin Balbano, a chatty American advertising executive whose life changes in an instant when her phone rings, long distance from Europe. On the other end of the line is Bianca (Monica Bellucci), consigliere for the Balbano crime family. "Your grandfather is dead," she says. "You need to settle his affairs. You'll fly to Italy tomorrow night."

Although she's always wanted to go to Rome, Kristin can't leave at such short notice. "Everything is crazy at work and my husband needs me." Besides, she wasn't close with her grandfather. In fact, they never met.

She has a change of heart, however, when, while still on the phone, she catches her husband cheating on her with their son's guidance counselor.

Her marriage in tatters, she figures some time away would be a tonic and accepts Bianca's offer. It isn't until she arrives in Rome for the funeral that she learns she is one of her grandfather's only blood relatives, and is next in line to run the family business. Even though the old crew isn't impressed by her—"How are we supposed to appear strong when she is dressed like a librarian?"—she reluctantly steps into the lead role.

Unfortunately, the business is under siege, involved in a turf war with a rival family. As assassins circle around, Kristin discovers a new life as decides whether she can run a crime organization and still be the good person she always thought she was.

"It's not about losing yourself," says Bianca. "It's about becoming yourself."

"Mafia Mamma" is like "How Stella Got Her Groove Back" and "Eat, Pray, Love" only with 100 per cent more gunplay and slapstick violence. Kristen's story of personal awakening and empowerment is predictable, played at a sitcom level, but Collette's easy charm counts for something. Her broad comedic approach wrings laughs out of the material. Whether she is killing a baddie with a stiletto, or admitting to never having seen "The Godfather" because, "It's really hard to find three-and-a-half hours," she elevates this standard fish out of water tale.

The story of a woman fighting sexism and an old-school male-centric system doesn't offer much in the way of surprises, but it does so with a fair amount of enthusiasm.

SHOWING UP: 3 ½ STARS

"Showing Up," a new dramedy starring Michelle Williams and now playing in theatres, is like a swan. At first glance, it appears calm, cool and collected, but a closer look reveals it is peddling madly underneath the surface.

Set in Portland, Oregon, the story revolves around a week in the life of Lizzy (Williams), a sculptor struggling to prepare for an important show, one that could determine her future, despite the distractions of her day-to-day life. Her frayed nerves are put to the test when her passive-aggressive landlord, and fellow-artist, Jo (Hong Chau), refuses to fix the building's hot water tank, thus making it impossible for Lizzy to shower. On top of that, Lizzy is stuck caring for a pigeon her cat Ricky seriously injured and left for dead, and her co-worker Eric (André Benjamin, aka André 3000) left a piece of her work in the kiln too long, causing it to crack.

Even her family stresses her out. Her mother (Maryann Plunkett), is also her boss at the Oregon College of Art and Craft, and her sculptor father (Judd Hirsch) is less than enthusiastic about her work and ambition. Her brother (John Megaro) suffers with mental illness and spends his days digging a giant hole in his backyard.

"Showing Up" features the slow moving, leisurely pacing that has become writer/director Kelly Reichardt's trademark. Lizzy's world is revealed bit by bit, each obstacle adding to the growing anxiety as her opening night approaches.

It feels like watching a slow-motion car crash, but instead of the expected smash-up, the film gently uncovers how Lizzy's devotion to her art is her lifeline. She lives an artistic life, connected to her community in ways that feed her creativity. Even the poor, broken pigeon finds a spot in Lizzy's heart and helps transform her life in unforeseen ways.

Williams is a model of restraint, but finds way to add some light comedy into the character. Chau is a live-wire, adding some electricity to the film, even if her role is somewhat underwritten.

It would be easy to think nothing much happens in "Showing Up," and it is a quiet movie, but it is loud and proud in its declaration about the miracle of making art that matters while balancing the frustrations of everyday life.