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Fright Night Part 2

Fright Night Part 2

Horror · Comedy · 1988

After three years of therapy Charley Brewster, now a college student, is convinced that Jerry Dandridge was a serial killer posing as a vampire. But when Regine, a mysterious actress and her entourage move into Peter Vincent's apartment block, the nightmare starts again - and this time it's personal!

Movie details

Fright Night Part 2

“Do you have a taste for terror? The suckers are back.”

1988 Horror · Comedy 1h 44m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

After three years of therapy Charley Brewster, now a college student, is convinced that Jerry Dandridge was a serial killer posing as a vampire. But when Regine, a mysterious actress and her entourage move into Peter Vincent's apartment block, the nightmare starts again - and this time it's personal!

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Fright Night Part 2?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Fright Night

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Names above the title

The people responsible.

Directed by

Tommy Lee Wallace

Written by

Tommy Lee Wallace · Tim Metcalfe · Miguel Tejada-Flores

William Ragsdale

William Ragsdale

Charley Brewster

Roddy McDowall

Roddy McDowall

Peter Vincent

Traci Lind

Traci Lind

Alex

Julie Carmen

Julie Carmen

Regine Dandrige

Jon Gries

Jon Gries

Louie

Russell Clark

Russell Clark

Belle

Brian Thompson

Brian Thompson

Bozworth

Court is in session

Put Fright Night Part 2 on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.