– Lewis’ Dual Role is Excellently Dynamic –
by Claire Fulton | Loud and Clear | September 30, 2024
3 and half stars out of 4
Euros Lyn’s The Radleys is a fun vampiric horror-comedy that balances its laughs with tension but does try to do a little too much overall.
Vampirism is often the shorthand through which themes of sexuality, temptation, transformation and addiction can be explored within the horror genre. With The Radleys, adapted from the novel of the same name by Matt Haig, director Euros Lyn uses the motif to explore these themes within the somewhat atypical world of a British suburbanite family. It’s a film that’s packed with humour, good performances and strong ideas, but does falter a little in trying to do a bit too much.
Peter (Damian Lewis, of Once Upon a Time… in Hollywood) and Helen (Kelly MacDonald, of No Country for Old Men), along with their children Rowan (Harry Baxendale, of Shadow and Bone) and Clara (Bo Bragason, of Censor), live a delightfully normal middle-class life in their countryside home. Things take a turn, however, when Clara undergoes a surprising transformation in a moment of self-defense, forcing Peter and Helen to divulge the deep, dark, family secret: they’re vampires. Having abstained from drinking blood for over a decade, the pair are keen for Rowan and Clara to continue in that vein, but the appearance of Peter’s twin brother Will (Lewis, in a dual role), a decidedly not abstinent vampire, throws a spanner in the works.
Lyn’s film is decidedly more on the horror-comedy side of the horror genre spectrum, but does effectively sustain tension alongside its humour. And The Radleys is genuinely funny, with a sharp, wry, and slightly satirical screenplay from Talitha Stevenson and comedian Jo Brand. But while it does keep its tongue firmly in its cheek, not everything is played for laughs, and the film isn’t afraid to approach its more serious topics with a touch more severity and sensitivity.
The Radleys isn’t revolutionary in the way it uses its vampirism to explore themes of sexuality, identity and change, but its decidedly British spin does feels fresh. Lewis’ dual role, in which he is excellently dynamic, is almost a visual representation of the two sides of the vampire existence. It’s an effective metaphor for the choice being presented to Rowan and Clara: is it better to fit in, conform, and suppress our base instincts, or rather to embrace the darker parts of the (in)human experience? Lyn’s film feels decidedly human in its exploration of that choice, even if everything is tinged with an inherent thirst for blood.
But while The Radleys has an interesting and thoughtful premise at its core, it does suffer a little from trying to do a bit too much around it. Its focus splits, throwing in subplots and supporting characters that shift things a little too far from what is the main draw here: the Radley family as a family. Unfortunately, this means that things get a little too diluted and result in some characters – namely Bragason’s Clara – ending up with not a whole lot to do.
And that’s a shame, because it’s a joy to spend time with these characters. Every member of the central cast succeeds in making the family dynamic an authentically convincing one. They all balance the comedy and the drama very effectively, elevating the tension and stakes that run pretty consistently throughout the film with some genuine laughs and more heartfelt moments. The Radleys are an ordinary family dealing with some extraordinary issues, and while the narrative wobbles, Lyn never really loses sight of the importance of that connection.
The Radleys is a funny, charming and wry take on the vampiric genre that does get a little bogged down with narrative weight, but is never not enjoyable as a result. It offers a fresh take on the teenage- and midlife- experience through a decidedly blood-soaked lens, and is propped up with steady direction, a sharp – if somewhat bloated – script, and a terrific cast.
The Radleys will be in US theaters, Video on Demand, and various streaming services Friday, October 4, 2024, and SkyTV/NOW in the UK on October 18, 2024.
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