Hotel Transylvania 3: Summer Vacation

A getaway.

A surprise.

A much less terrifying Drac (Adam Sandler) heads out for some rest and relaxation, a well-earned break from managing his infamous hotel.

His friends and family enthusiastically accompany him, adding communal comedic style to his travels similar to that found in A Muppet Family Christmas (1987).

It's not Christmas, not even Halloween, yet the cruise they find themselves upon does come equipped with stunning Summertime festivities, attractions, designed specifically for monsters, who are unaware it's a vengeful trap.

The Van Helsings (Jim Gaffigan as Van Helsing and Kathryn Hahn as Ericka) have sought to finish Dracula off for generations.

Without success.

But now their family has come up with their most diabolical scheme ever, and have successfully lured everyone into their exhaustive clutches.

An aspect that has never been considered may foil their antiseptic ambitions, however.

Known to both human and monster kind.

As unabashed true love.

Or zinging, as it's referred to in Hotel Transylvania 3: Summer Vacation, and it does perhaps generate the odd blush or two, as aged Drac comes to terms with his emotions.

Nevertheless, daughter Mavis (Selena Gomez [not Winona Ryder?]) stays focused, and detects peculiar behaviour as she monitors the actions of dad's commanding love interest.

With the help of her chill surfs-up! beatbox husband Johnny (Adam Samberg), they may just be able to dispel the leviathan.

It's a cruise after all.

Replete with Bermudan triangulations.

Some funny moments, some serious camaraderie, death-defyingly wicked yet convivially chummy and endearing, Hotel Transylvania 3 innocently blends mirth with the macabre to highlight collective curses, synthesizing Capulets and Montagues demonstrously, while adding myriad spicy flavours askew.

An odd narrative technique that didn't really work with me, it consistently focuses intently on one character at the end of a sequence and then pauses for dramatic effect.

I imagine I'm outside the targeted audience's age range, but I found the technique to be more sluggish than profound.

The kids in the theatre were laughing though, and seemed to have thoroughly enjoyed themselves as the credits rolled.

I did rather enjoy the ways in which so many characters were diminutively featured throughout nonetheless, especially Blobby (Genndy Tartakovsky), and lovestruck Drac in denial.

Plus the DJed dénouement.

Gremlin air.

The underwater volcano.

And the inherent ridiculousness of it all.

Nice.

Dracula Untold

Dracula revisited, often portrayed as a vicious bloodthirsty tyrant, recast as a loving devoted father, husband, and ruler, willing to risk everything to secure the social prosperity of his dominion, brought up as a warrior, who excelled beyond limitation, against his will, trial by fire, impeccable excretions, having returned home a free man, to govern his people with wise, trustworthy gentility, through the art of thinking critically, and the continuous deployment of tribute.

Yet battle once again demands his obedience, a battle that can't be won through earthly means, and a pact is made with transcendent deviance, limitless power, for an insatiable thirst for blood.

Thus the iconic villain is torn, invincible at war, romantically condemned by his true love.

It's a different take on Dracula, Gary Shore's Dracula Untold, the latest vampiric franchise to tenderly and ravenously strike.

It's alright.

Somewhat cutesy at times, which is odd for a mass produced vampire film, making derelict lesions and hallowed imperfections seem direly quaint by comparison; however, its protagonist is rational and his love undying, his fidelity to the centuries, like twilight's eternal fountain.

Missed Jarmusch's Adam a bit while viewing, but it's unfair to compare the two visions.

Glad Jarmusch made that film.

Jodorowsky and vampires?

It's not too late.