THE PREMISE:

"It follows a seemingly ordinary family with a dark secret: they are vampires. They choose not to drink blood despite their natural cravings, but their truth is revealed one day." 

OUR MOVIE REVIEW:

A couple chapters into author Matt Haig’s 2017 book How To Stop Time, realization strikes like a lightning bolt. The story - about a group of immortals seeking purpose - is akin to filmmaker Russell Mulchay’s Highlander minus the swordplay. And catchy one-liners. While watching The Radleys, adapted from Haig’s 2010 book of the same name, a similar realization kicks in. The Radleys is really another take on American Beauty.

But with vampires.

The Radleys definitely goes for the jugular in its metaphors - both in equating a mid-life crisis’ lust in seeking out new blood as well as embracing a true inner self. Yet the film’s heavy-handed tone sucks the life out of a consequences-free fervor and instead keeps everything trapped in safe suburbia.   

The 1999 Academy Award-winning movie American Beauty by filmmaker Sam Mendes focuses on Lester Burnham, a depressed suburban father in a mid-life crisis. His job is in a rut; his wife no longer loves him; his daughter considers him benign. Actors and political climates notwithstanding, the movie is worth seeing, if only for the sheer escalation of the family drama within. 

The Radleys, fronted by the Welsh TV director Euros Lyn, focuses on Peter and Helen Radley. Both are in a depressed rut. Peter with his career; Helen with her marriage. Their children are going through their own teenage existential crises. Clara wants to be a vegan bad-girl; Owen is stumbling his way out of the closet. Then, on Peter’s 47th birthday, Clara is nearly date raped. That event awakens her. Clara discovers that not only is she no longer vegan… but she is also a blood-sucking vampire. 

Peter and Helen admit to being vampires - their children share the belfry - and try to deal with the ramifications of their family secret. Similar to Lester Burnham, Peter (Damien Lewis) starts to unfold once he rediscovers the joy of fresh blood. Particularly, his sexuality is awakened (with the help of Loki’s Sophia Di Martino). Helen (Kelly MacDonald) begins to step away from her calendar-full life of housewife rituals as she gives into long baths while being seduced by Peter’s wild twin brother, Will (doubly performed by Lewis). The Radleys even have a nosy neighbor that all-too easily jumps to conclusions. 

Alas, The Radleys tone down the vampire crazy. Yes, the metaphor for being different is blatantly shown but Lyn, and screenwriters Talitha Stevenson and Jo Brand, fail to embrace the crazy. Rather, the Radley elders try to maintain the secret in a pedestrian, and mortal, manner.

​

Unlike Lester and his wife Carolyn, Peter and Helen fail to permanently change. Clara and Rowan both become brazen under the tutelage of their uncle Will, but even his wild ways only minimally push the morality needle into the red. Whereas American Beauty cuts into the crazy with a full-on sarcastic streak, The Radleys merely sips on O+. 
 

Lyn nicely sets up shop in an English town that looks like it sits across the street from Broadchurch (where Lyn has directed episodes). He keeps the gore and sex tame but his teases are titillating. Lewis, who always pulls off an excellent act, gets the chance to ham it up as Will - but could have gotten a lot more spicy with his mustard. Same with MacDonald, who recently has been trapped in matronly roles, could have jumped back to her Scottish rock roots. Lyn seems to prefer everyone and everything to remain as a gorgeous background.

The Radleys looks great as a movie with its broad expanses but the micro work as a family drama needed a kinkier flavor. Even though the vampire genre is a vein that has been well tapped, there is still blood within that can be resurrected. Sometimes, a meaningful sacrifice is required. The Radleys, unlike the Burnhams, play it too safe to deal with such an offering.