The Radleys punctures the pretensions of the age-old vampire narrative by infusing it with a biting suburban satire, transforming the notion of bloodsucking creatures into a commentary on addiction, repression, alienation, and hidden family secrets. Directed by Euros Lyn (Dream Horse, “Heartstopper”) and adapted from Matt Haig‘s eponymous novel by Haig himself alongside Talitha Stevenson and Jo Brand (yes, that Jo Brand), the film deftly merges dark humor with horror, presenting a refreshingly original perspective on a well-trodden genre.
At the heart of the film are Helen (Kelly Macdonald) and Peter Radley (Damian Lewis), a married couple who have chosen to live as “abstainers” – vampires who have sworn off drinking blood. They follow the guidelines laid out in the mysterious tome called “The Abstainer’s Handbook,” but their careful charade begins to unravel when their children, Clara (Bo Bragason) and Rowan (Harry Baxendale), make a startling discovery – they have been kept in the dark about their own vampiric heritage all this time. Clara’s accidental awakening of her dormant bloodlust after being attacked forces the family into chaos, leading to a series of darkly comedic events.
The performances are a highlight, with Macdonald and Lewis delivering emotionally charged portrayals that anchor the family dynamic at the heart of the story. Macdonald brings a restrained, tension-filled energy to the role of Helen, while Lewis is a standout in his dual role as Peter and his twin brother, Will. As the hedonistic, unapologetic vampire Will, Lewis clearly relishes the opportunity to embrace the character’s debauched, carefree existence, revelling in the wanton pleasures and total lack of inhibition that epitomise what it means to be an immortal creature. By contrast, his portrayal of Peter – the buttoned-up suburban father – emphasises the stark contrast between the two brothers, and Lewis is more than capable of seamlessly shifting between these polar opposite personas. Will’s disruptive presence shatters the fragile family dynamic, allowing both Macdonald and Lewis to powerfully showcase their impressive range and command of the material.
The coming-of-age subplot involving Rowan, who not only grapples with his newfound vampire identity but also his romantic feelings for his neighbor Evan (Jay Lycurgo), adds an extra layer of depth. Baxendale’s performance is understated yet poignant, especially as he navigates the awkwardness of teenage emotions amplified by the complications of being a vampire.
Lyn’s direction keeps the film engaging, balancing the comedic elements with moments of genuine tension. The Radley family’s increasingly unhinged situation provides ample opportunity for comedy yet Lyn never allows the comedy to undermine the genuine sense of tension and unease that permeates the story, as the family’s facade of normalcy slowly crumbles and the full weight of their supernatural affliction comes to bear. There’s also a lot to unpack in terms of thematic content, with The Radleys serving as a metaphor for addiction and repression, while vampirism – typically steeped in sexual undertones – adds another layer of intrigue to the family’s struggles.
The Radleys provides a wickedly witty and subversive antidote to conventional vampire motifs, skewering the clichés of both the vampire genre and the suburban family drama, mining rich veins of mordant comedy and wry social commentary from the stark contrast between the extraordinary and the ordinary. And, despite not completely revamping the vampire mythos, the film’s reflexive subtext renders it a refreshingly distinctive and highly entertaining addition to the vampire canon.
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Lionsgate releases The Radleys in theaters, On Digital and On Demand on October 4, 2024.
