Daybreakers
The saying goes ‘if you’ve seen one vampire film, you’ve seen them all’. Whilst not completely true this statement isn’t too far off the mark. The majority have either used the romantic vampire as seen in the Twilight series or the blood-thirsty kind as portrayed by Bela Lugosi. Others such as Daybreakers attempt to deviate from those shackles to present something different. It certainly does that with its semi-heroic vampires basking in oodles of blood and some smattering of ghoulish wit.
In 2019, humankind has been ravaged by plague. Turned into vampires, the populace hunts down the remaining humans for feasting. Unfortunately due to their blood lust their ways have led to a critical shortage. Tasked with creating a substitute, Bromley Marks pharmaceuticals CEO Charles Bromley (Sam Neil) enlists the services of scientist Edward Dalton (Ethan Hawke). Using his skills to save those left instead with the help of vampire killer Elvis (Willem Dafoe), Dalton’s expertise is needed to out-manoeuvre Bromley’s wicked vampiric machinations.
It’s very difficult being original in vampire films although Daybreakers gives it a good try. Using a recent technique in showing blood-suckers as humans rather than spectral phantoms, it brings a more emotive edge to the narrative. This isn’t to imply Daybreakers rivals Jane Austin, but this crucial element gives some sympathy to its characters’ motivations. Even Sam Neil’s sinister role isn’t wholly evil as his actions are driven by familial needs than outright greed. In the end the story revels in its comic strip heroes and villains although the added bonus of some decent acting makes events accessible.
The fangs, stakes and sunlight are all in place, but what the Spierig Brothers do with their direction brings a genuine sense of thumping urgency. Even the action scenes turn into a sweaty fight to the death as each passing day spells everybody’s potential doom. Perhaps its only drawback is in its marketing. Directed, filmed and financed in Australia, Daybreakers is unfortunately presented as an ‘American production’ with the inclusion of American actors masking its origins. Whilst this is fine in showing what the local industry can achieve, it’s a little dis-heartening that a commercially driven enterprise needs some ‘Americanisms’ to gain success.
Notwithstanding its dubious advertising, Daybreakers is an interesting hybrid of action, humour and horror. It isn’t the best of its kind but nor does it foul the nest of its predecessors. With enough to satisfy its target audience, those tired of the whimsical romance of the Twilight films should find much to fiendishly enjoy.
Rating out of 10: 6
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