At least Nicolas Cage seems to be having fun.
There’s no point explaining the intricate means by which these characters become intertwined because the film barely cares; suffice it to say, Rebecca wants revenge against the Lobo empire for killing her dad, and upon receiving no help from her corrupt colleagues, she turns to Renfield after he risks his life to save her in a brutal fight with Teddy and his werewolf-masked henchmen.
Determined to break free from Dracula’s employ, Renfield takes the advice of his support-group mates and strikes out on his own, renting a studio apartment , buying a colorful new wardrobe, and reading self-help books about escaping the clutches of authoritarian narcissists. The montage that relays that process, alas, is so fast that it never locates a snappy rhythm—a common tempo-related shortcoming that’s exacerbated by frenzied camerawork and choppy editing.
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