A Vampire in the Family: A Missed Chance for Bite-Sized Comedy

The opening scene of A Vampire in the Family sets the tone with a chaotic energy: Fernandinho (Leandro Hassum), a former football player turned podcast commentator, is mid-broadcast when his sister bursts into the studio, dragging her disheveled brother-in-law Greg (Rômulo Arantes Neto) behind her. The camera lingers on Greg’s wild eyes and fangs as he collapses onto the couch, deadpan: “I need blood.” It’s a promise of absurdity, but the film struggles to deliver consistently.

Director Ale McHaddo aims for a blend of family sitcom and supernatural comedy, but the execution feels uneven. The premise—a vampire crashing a suburban family’s holiday—has potential, but the script often settles for lazy gags instead of sharp satire. Hassum, known for his physical comedy, anchors the film with his signature energy, particularly in scenes where Fernandinho’s patience is tested by Greg’s antics. However, Arantes Neto’s performance as Greg leans too heavily into broad, uninspired humor, missing opportunities to explore the vampire’s moral ambiguity or emotional depth.

The supporting cast fares better. Monique Alfradique, as Vanessa (Fernandinho’s sister), delivers standout moments with her exasperated reactions to Greg’s behavior. Edson Celulari, playing Ula Drax—a rival vampire with a flair for the dramatic—adds a layer of campy sophistication that contrasts well with Hassum’s grounded chaos. Mel Maia, as Carol (Fernandinho’s daughter), brings warmth to the family dynamic, while Caio Mendonça and Maria Flor Franco, playing younger siblings Ameba and Moniquinha respectively, add levity without overplaying their roles.

Visually, McHaddo’s direction is serviceable but unremarkable. The film relies on standard sitcom framing—a static camera capturing chaotic interactions—and while the pacing moves quickly, it often feels rushed rather than rhythmically tight. However, there are moments where the cinematography shines: a low-angle shot of Greg looming over Fernandinho during an argument adds tension, and the use of warm, festive lighting during family scenes contrasts effectively with the cooler tones of Greg’s vampire hideouts.

The sound design deserves mention: the use of exaggerated vampire noises (sucking, groaning) during tense moments adds a layer of dark humor that elevates otherwise flat scenes. The soundtrack, however, feels generic—a mishmash of upbeat pop tracks and forgettable instrumental cues that fail to enhance the film’s tone.

Where A Vampire in the Family falters is in its storytelling. The script struggles to balance its tonal shifts—moments of genuine emotional weight (like Fernandinho’s conflict between family loyalty and personal sanity) are undercut by cheap laughs. A subplot involving Greg’s quest for a “vegan vampire” diet feels forced, as does the film’s rushed resolution, which ties up loose ends with minimal effort.

Thematically, the film explores family dynamics and the tension between tradition and modernity. Fernandinho represents the responsible, rule-following patriarch, while Greg embodies chaos and rebellion. However, these themes are only superficially explored, leaving little room for meaningful reflection. The humor often overshadows any deeper commentary, making the film feel more like a collection of gags than a cohesive narrative.

Comparing A Vampire in the Family to other comedies in the genre reveals its shortcomings. While it shares DNA with films like What We Do in the Shadows, it lacks that film’s sharp wit and character depth. Similarly, while it attempts to blend family sitcom tropes with supernatural elements, it doesn’t reach the heights of shows like The Addams Family or Sabrina the Teenage Witch, which balance humor and heart more effectively.

Ultimately, A Vampire in the Family is a film for fans of lighthearted, low-stakes comedy. It’s fun in fits and starts but rarely transcends its genre conventions. The performances by Hassum and Alfradique are highlights, and the film’s use of sound design adds a welcome layer of dark humor. However, its uneven pacing, lackluster script, and uninspired direction prevent it from standing out in a crowded field.

MCM Score: 5.8/10 — craft 2 / story 1 / performances 2 / originality 1 / genre_fit 1.8.