Vampire films have a special allure, especially when they upend traditional genre tropes.  While the upcoming remake of Nosferatu is going to be gorgeously embracing all the bloodsucking beauty of the creatures of the night, The Radleys, directed by Euros Lyn and adapted by Talitha Stevenson and Jo Brand from Matt Haig’s 2010 novel, adds a quirky twist by focusing on a suburban vampire family who’ve sworn off blood. Think Leave it to Beaver, but with fangs. While the film starts with charm and dark humor, it eventually loses its way, leaving viewers entertained but craving more depth.

Peter Radley (Damian Lewis) is a seemingly normal father, but he and his wife Helen (Kelly Macdonald) are vampires living “clean.” Their teenage kids, Rowan (Harry Baxendale) and Clara (Bo Bragason) are similarly trying to suppress their bloodthirst. Life is uneventful, dead even, until the kids’ hunger starts to surface, and Clara accidentally devours a predatory boy in her class.  Peter and Helen try to offer their support, but the gnarly scene triggers them. Enter Peter’s reckless, unapologetically bloodletting brother Will (also Lewis), whose chaotic arrival stirs the family’s fragile balance.

The film peaks early on with its clever metaphor for suburban repression, mixing sharp humor with the family’s growing internal chaos. The Radleys’ struggle to blend in as “normal” mirrors themes of conformity to expected norms and hidden desires behind perfect picket fences, all while keeping things light with moments of dark comedy. However, this fresh take starts to falter midway through, as the film seems unsure of its direction. Torn between dark comedy and deeper drama, it meanders, losing the sharpness that initially made it stand out.

Further, Lyn’s film misses the mark of fully exploring the intriguing sub-themes it introduces but doesn’t follow through on. Teenage bloodlust as a metaphor for growing up offers laughs initially (not exactly original material, though) but the film doesn’t dig deep enough into its exploration of family dynamics or the vampire mythos. What could have been a rich commentary on societal pressures is instead watered down by repetitive family drama, though I did appreciate that Haig and the adapters let their creations function differently than others (daylight, crosses, etc. don’t hold much weight).

The performances, however, elevate the film. Macdonald (Goodbye Christopher Robin) is the clear standout as Helen, balancing maternal instincts with her repressed vampiric nature, fully delivering with dry comedic zeal tempered with the pangs of the life she left behind. Lewis (Dream Horse, also directed by Lyn), playing both Peter and his wild brother Will, brings energy to the film, though his characters often feel like they belong in different movies. While Peter comes off as stiff, Will’s carefree chaos adds much-needed excitement.  The young cast also impresses, with Bragason’s Clara grappling with her emerging powers, and Baxendale’s Rowan giving a quieter but sterling performance as he transitions from ordinary teen lusting after the popular boy in class to a vampire who can use a newfound power to actually get him.

Ultimately, The Radleys promises more than it delivers. It’s a mashup of dark family comedy, coming-of-age story, and supernatural drama, but never fully commits to any of them in a truly sustaining way. While entertaining in the moment, it leaves you wanting a more satisfying bite. For fans of dark comedies or those seeking a fresh take on vampires, it’s a decent watch—just don’t expect it to sink its teeth in too deep.