Dr. Volmer (Jason Isaacs) runs the place, and he and his sylph-like, strange daughter Hannah (Mia Goth) evoke Georges Franju’s “Eye’s Without a Face” (1960) when the film doesn’t drift off into Cronenberg territory or Roman Polanski’s “The Fearless Vampire Killers” (1967).
Sharon Tate (Margot Robbie), the real actress who appeared in Roman Polanski’s “The Fearless Vampire Killers” and Mark Robson’s “Valley of the Dolls,” lives next door to Rick.
Jeffrey M. Anderson, Arts & Entertainment•San Francisco Examiner•Jul 25, 2019
So Andrezej is booted off the picture, and briefly replaced by Felix DeMarco (Jason Schwartzman), a brassy young American film brat who looks a little like William Friedkin (The French Connection, The Exorcist) during his '70s heyday, and whose latest movie resembles Roman Polanski's 1967 horror spoof, The Fearless Vampire Killers.
Mixing horror and comedy is no easy task (it took Roman Polanski to whiff with "The Fearless Vampire Killers" before he could make his masterpiece "Rosemary's Baby") and Peele's first feature is strong.
It's also nice to see the director dealing with a work that's primarily a comedy, which is something Polanski hasn't really tried since 1967's "The Fearless Vampire Killers" with Sharon Tate.
"The Fearless Vampire Killers" and "Rosemary's Baby," for instance, were made hideous mostly through close-ups that denied you context or room to breathe.
In adapting the European slight-fright best seller "El Club Dumas," Mr. Polanski is out to cross "Rosemary's Baby" with his saucy spoof "The Fearless Vampire Killers," but this movie is about as scary as a sock-puppet re-enactment of "The Blair Witch Project," and not nearly as funny.
In still another collaboration with Brach, Polanski wrote, directed, and acted in The Fearless Vampire Killers (67), part chilling horror and part uneven send-up of the genre, including an awkwardly self-conscious joke about a Jewish vampire who scoffs at the power of the Christian cross to exorcise vampires of his own religious persuasion.