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Though they appear to be creatures of habit, the vampire protagonists of the horror-mockumentary “What We Do in the Shadows” are actually merely slow. One vampire “does my evil bidding” using a modern convenience like eBay, but the others only rely on their limited intelligence and human servants. So it seems sense that they have just recently become the focus of a reality program documentary in the vein of “Real World.”
The main characters of “What We Do in the Shadows” are definitely not of this era; they are walking, heavily accented, frilly blouse-wearing corpses, which serves as the basis for several witty, well-timed jokes. Jemaine Clement and Taika Waititi, who are co-writers, filmmakers, and actors from New Zealand, are as charismatic in real life as they are in their roles. As a result, “What We Do in the Shadows” is a conceptually intelligent and beautifully well-executed B-movie that never outstays its welcome and is irresistibly delightful.
A good example is the opening sequence of “What We Do in the Shadows,” which causes many people to laugh out loud. Viago (Waititi) calls his three oddball roommates to discuss household duties after sundown. Vladislav (Clement), a frustrated womanizer who resembles Australian rocker Nick Cave in part due to his facial hair and fur coats, mainly keeps to himself. While millennium-old Petyr (Ben Fransham), a bucktoothed distant relative of Max Schreck in “Nosferatu,” can’t be bothered to clean up the human remains that litter his area of the flat, youthful rebel Deacon (Jonathan Brugh), who isn’t quite 200 years old, hasn’t done the dishes in five years.
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Until they feed on and transform Nick (Cori Gonzalez-Macuer), a chubby working-class man who appears to be an aspiring soccer hooligan, into a vampire, Viago’s organization is fairly set in their ways. Nick’s inclusion in the group has a significant effect on the vampires’ afterlives, as he first assists his inhumanly old buddies in breaking into nightclubs that they were previously forbidden from entering.
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The greatest aspects of “What We Do in the Shadows” are neatly summed up in the final joke. The fact that Viago and his friends are attempting to enter various clubs is a smart spin on a well-known vampire myth that bloodsuckers are prohibited from entering places they have not been invited to. A joke that is already amusing is made funnier by watching the group’s frustrating attempts to breeze past multiple harsh bouncers in a quick, well-paced montage scene.
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While Waititi’s Viago skittishly narrates through voiceover narration why his pals always end up at “the hottest vampire night club” (i.e., it’s always empty), you can hear Clement’s Vladislav objecting in the background.
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This quick joke demonstrates that “What We Do in the Shadows” is a true ensemble comedy rather than a glorified star vehicle for Clement, the most well-known of the movie’s minor league stars (“Flight of the Conchords,” “Men in Black III”). Gonzalez-Macuer is the lone exception to this trend, as he isn’t allowed much to do due to his character’s tiny function as an outsider/catalyst. Gonzalez-Macuer does, however, stand out in a laughably offensive projectile-blood-vomiting moment, a slapstick-y throwaway bit that he executes with exquisite glee.
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Brugh and Waititi give the movie’s best performances, but Clement does a wonderful job as the film’s sulking beast. Waititi’s jittery nice-guy routine reminds me of Andy Kaufman’s Latka in “Taxi,” especially in the scene where Viago amiably chats up a victim in her 20s while placing newspaper under her feet (all the better to prevent blood stains with). And when Brugh rambles to Nick on the dehumanizing nature of being a vampire and eventually confesses that he once made “the simple error of fashioning a mask out of crackers, and was attacked by ducks, geese, and swans,” he provides one of the movie’s biggest chuckles. The way Brugh delivers his line with a sour, deadpan expression is wonderful, as is Gonzalez-meek Macuer’s reply.
It would be quite simple to take “What We Do in the Shadows”‘ authors’ accomplishments for granted. Many of the scenes, like the blood-barf scene cited earlier, had the sense like master lectures in cringe comedy. Furthermore, the group’s chemistry is undeniably strong. This is particularly apparent in instances where Viago and the crew practically lift off while hissing at one another like flying rabid cats. Give it up for comedians who are this adept at transforming their ostensible on-set glee into a tight hang-out humor (see the sequence where they chase Gonzalez-Macuer around the house “Scooby Doo”-style, and tell me they aren’t having a blast). Although “What We Do in the Shadows” may appear to have no meaning, being this ridiculously foolish requires a lot of expertise.
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