Back in 2005, Vince Vaughn and Owen Wilson joined forces to produce the wonderfully funny Wedding Crashers. Coming a full four years before The Hangover and a month before The 40 Year Old Virgin, the film was one of the first in a growing club of appropriately inappropriate, endlessly quotable and just downright entertaining comedies. The chemistry between Vaughn and Wilson propelled the film to success and was a big contributor to its overall charm. Following an eight year absence, the two reunite with The Internship and it looks like things just aren’t the same.
Author Derek Deskins
Adapting Shakespeare to the big screen can be tricky. You can either go full Kenneth Branagh and stick with the time, place and words that Billy intended, or you try to reach a wider audience and simply do a modern retelling; moving the action to today’s world and replacing iambic pentameter with modern wording that seems vulgar by comparison. Then there are the truly daring adaptations, those that honor the timeless words of the Bard and move only the setting to a familiar place. Much Ado About Nothing accepts this challenge and joyfully delivers.
The vampire film certainly has changed. No longer do we deal with the dread that so defined Tod Browning’s Dracula and F.W. Murnau’s Nosferatu. Instead of being fearful of vampires, hordes of teenage girls yearn for the gentle embrace of some sparkly blood-drinker that more likely listens to Dashboard Confessional than Wagner. Vampires used to be dark creatures of doom, plagued by sadness and encapsulating brutal sexuality. Miss Christina, an exploration in old gothic style, has much more in common with Bela Lugosi than Robert Pattinson.