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‘Twilight’ Film Review: That willing teen bite

The swoony supernatural romance and the neo-horror motif of “Twilight” can both amuse and bemuse — depending on the type of viewer.

From the initial fans of the book to the newly-recruited fans of the Edward-Bella love team, the teen bite of the tale clearly gets deep into their veins.

The formula for this movie’s charm is very much apparent. It offers that dose of ordinary girl-meets-extraordinary boy who turns out as the prince charming to the damsel in distress. It has key elements for romantic spree backed up by both physical and occult-ish appeals, providing enough escapism for its target audience. All these float towards the surface of what is supposedly “just another overused teen love story,” which often times would not offer a record-breaking pursuit with such blockbuster appeal.

This adaptation of Stephenie Meyer’s best-selling teen novel focuses on a rehashed plot that merely shows what happens to the characters in every second of screen time, leaving no much room to grow their interactions beyond the emo-romance fare. But this doesn’t necessarily mean that this type of movie doesn’t work. In fact, it is pure fantasy for girls who want to be princesses — while having their bad boys by their side. Regardless of how questionnable its values are, this is really what makes this particular offering a successful new franchise. It is able to establish the needed teen moodscape where the chemistry between the main characters offers enough smoldering desire that the teen crowd would typically love.

This romance flick is clearly geared towards those who enjoy straight-up unforbidden love, angst-filled behavior, and underage rebellion on screen. With a distinctly young sense of tragedy and sparkle, the pop material turns out effective in making its willing viewers crazy over a tale centering on two star-crossed lovers trying to bridge the gap between humans and vampires.

This movie promotes a defiant human-vampire dating fantasy with some girly swirl of obsession for the main audience’s delight. Interestingly so, it doesn’t try hard to be hip for its intended crowd. It is one vampire love affair where sharp teeth, cold hands, and supernatural powers require the viewer to sit back and enjoy the camp. Otherwise, it just wouldn’t work.

The weak CGI isn’t much of an obstruction for this picture to hit big at the box office. Not even the dodgy dialogue nor the lack of a more developed storyline can hinder its success. It may be quite a chore to endure for the unwilling victims; but for its hard-core fans, it sure carries everything well.

The cool references put accessible fangs to its lucrative teen hook-ups. Watch some vampires play baseball, drive the coolest cars, live in a classy glass mansion, climb trees taller than the penthouse of a city skyscraper, and glitter under sunlight. Indeed, it is the kind of vampire flick that can get its pop culture-stricken patrons excited and addicted. It turns out as a blatant attempt to cash in from the devotion of its die-hard followers — with a door naturally left open for the next installment.

Director Catherine Hardwicke, along with screenwriter Melissa Rosenberg, recreates a world where the heroine becomes obsessed with surrender and submission to a man who is constantly tempted to kill her. Now, that is one sucked-up subtext about culture and society that may be worth a psychological study.

This picture is like a vegetarian diet in the vampire movie canon. For those uninitiated and for those outsiders from this flick’s intended demographic, this pop treat is plainly overused, dopey, and melodramatic. The jumble of cuts and pastes from the book, along with the music video bits and the often second-rate visual effects make it a hackneyed teenybopper show of synthetic affection.

As a vampire tale, the type of angst it plays around with remains too dull throughout its running tale that its own fangs turn out questionable, especially in the action side of things. There is a lot of build-ups but not so much on resolution. The hokey dialogue may just be too much to bear for non-fans. Unless one can get past the sloppiness and shallowness, there is no way to get really sucked in.

As a fantasy romance involving a self-loathing vampire and his sweet-blooded human beloved, the film’s theme works well with the rising and falling teenage hormonal requirements. Focusing on the palpable chemistry of the main pair Kristen Stewart as Bella Swan and Robert Pattinson as Edward Cullen to mesmerize the fans, they work well with playing around sidelong glances, twitchy rule-breaking escapades, and head-spinning rushes of the moment — which highlights their intangible yearning and romantic affection for each other. Amidst the overacting parts at times, their on-screen romantic charm really does it all for the movie.

The story best utilizes its principal tandem with such brooding romanticism. Stewart as the introvert Bella is someone most teens could relate to as an average type with some fairly likable attributes, a glum expression, and a risky attitude. Pattinson as the 100-ish pale guy with overly red lips and living on a deer blood diet is totally a hit for giggling fans who are completely fascinated with his furrowed eyebrows, crooked smiles, and cool hairstyles.

The members of the supporting cast, though at times looking too superficial for their pale vampire demeanors, generally deliver for the narrative’s intentions: Bella’s father and mother Billy Burke as Charlie Swan and Sarah Clarke as Reneee Dwyer; the Cullen clan including Peter Facinelli as Dr. Carlisle Cullen, Ashley Greene as Alice Cullen, Elizabeth Reaser as Esme Cullen, Kellan Lutz as Emmet Cullen, Jackson Rathbone as Jasper Hale, and Nikki Reed as Rosalie Hale; the vampire antagonists including Cam Gigandet as James, Rachelle Lefevre as Victoria, and Edi Gathegi as Laurent; and Bella’s new school pals and family friends: Christian Serratos as Angela, Anna Kendrick as Jessica Stanley, Michael Welch as Mike Newton, Justin Chon as Eric Yorkie, Taylor Lautner as Jacob Black, and Gil Birmingham as Billy Black.

“Twilight” knows what it is meant for. Either one likes it or hates it. It has a sweetly idealistic charm on its own. It pleases its devoted fans, but does little for the uninitiated.

Check Out the Trailer and the Film:
Rianne Hill Soriano
Rianne is a director, writer, educator, and consultant in film and commercial productions. From mainstream essentials to independent flair, she knows the drill in making entertaining and well-meaning productions. She can lead a pack passionate about extreme action and technological edge; she can breathe an endearing and sentimental style for a team with a sweet disposition.

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