Basing itself on the grounds of the widely adapted, monstrous story, “Renfield” stands out as a look into the world of Dracula set into the modern society.
Nicholas Hoult plays the titular character of R.M. Renfield, known assistant or “familiar” of Count Dracula, a character popularized by the 1931 film adaptation of Bram Stoker’s original Gothic horror “Dracula.”
The film begins by illustrating the dynamic between Renfield and Dracula by recreating scenes from the 1931 classic. It utilizes a black and white filter and one-to-one aspect ratio in an homage to the film that first introduced them.
Over the course of the film, the relationship between the two characters is relit to be seen through a modern lens. Renfield’s worldview is shifted by a support group for those stuck in codependent relationships. It is through this group that Renfield realizes he was allowed to be his own person, unattached to Dracula (Nicolas Cage) or to New Orleans cop Rebecca Quincy (Awkwafina).
With Dracula’s own plans brewing, Renfield attempts to prove himself by helping himself and others by stopping the Count.
The comedy and writing in “Renfield” lands primarily in its nods to the fabled vampire story and its willingness to stick with some of the stranger bits.
The film adds a humorous approach to the boundaries that both Renfield and Dracula were held to. It also makes nods to other pieces of vampire media in the popular culture. For example, its setting in New Orleans is shared with much of Anne Rice’s “Interview with the Vampire” and other related novels.
The film writers also chose the less than thrilling writing decision to have its primary side character, Rebecca Quincy, be a cop surrounded by a group of untrustworthy coworkers. She attempts to push the message that not every cop is bad in the system.
While the story has been updated to match modern problems that the author and characters did not originally face, it still definitely struggles to cope with the turmoil surrounding modern-day police forces.
Aside from Quincy, all side characters are used almost exclusively to set up warring factions by the climax of the film.
While this is not entirely squandered with well-used comedic actor Ben Schwartz as a member of the family Teddy Lobo, it plays as a bit too “tropey” by the end of the runtime when the character could spend more time playing with the Renfield and Dracula dynamic. 
Another highlight is the gratuitous use of gore throughout the many limb ripping action scenes that took place. Shot with a frenetic energy and often implementing quick pans and sudden zooms, there are buckets of blood used in the deaths shown.
The editing plays with variations of the tone set by the overall film, giving a tension-inducing sequence in the climax as Dracula pursued Quincy.
These scenes are an absolute joy to watch, especially when involving Nicholas Cage’s turn as Count Dracula himself. Cage’s energy livens the screen every time he appears, playing extreme dramatics in this version of Dracula being realized as a manipulative sort of figure through the eyes of Renfield.
This element expands to the place he called home for the duration, an abandoned hospital taking inspiration from the Gothic tradition, covered in candles in lieu of modern lighting and having a throne centerpiece surrounded by a veil of blood bags that helps to create a stunning backdrop
For those who are fans of the supernatural and monstrous, “Renfield” is an enjoyable adaptation with writers and actors that are not afraid to play with the source material that was given to them.
Universal seems to be putting their possession of the monster related intellectual property that created the backbone of their classic monster film repertoire back into play in exciting ways that will, with hope and success, bring more films just like it.