30 Days of Night
From AwardAnnals
 | |
| Director(s) | David Slade |
|---|---|
| Distributor | Sony Pictures |
| Honors | |
| Josh Harnett (Black Dahlia Pearl Harbor) crosses over to the dark side in this bone-chilling adaptation of the cult-hit graphic novel brought to the screen in all its demonic glory. In a small Alaskan town thirty days of night is a natural phenomenon. Very few outsiders visit until a band of bloodthirsty deathly pale vampires mark their arrival by savagely attacking sled dogs. But soon they find there are much more satisfying thirst-quenchers about: human beings. One by one the townspeople succumb to a living nightmare but a small group survives at least for now. The vampires use the dark to their advantage and surviving this cold hell is a game of cat and mouse and screams. | |
Josh Harnett (Black Dahlia Pearl Harbor) crosses over to the dark side in this bone-chilling adaptation of the cult-hit graphic novel brought to the screen in all its demonic glory. In a small Alaskan town thirty days of night is a natural phenomenon. Very few outsiders visit until a band of bloodthirsty deathly pale vampires mark their arrival by savagely attacking sled dogs. But soon they find there are much more satisfying thirst-quenchers about: human beings. One by one the townspeople succumb to a living nightmare but a small group survives at least for now. The vampires use the dark to their advantage and surviving this cold hell is a game of cat and mouse and screams.
Reviews
Amazon.com
David (Hard Candy) Slade directs this nerve-jangling adaptation of the popular graphic novel series about a mob of vampires that overruns a remote Alaskan town in the grip of 30 Days of Night. Josh Hartnett and Melissa George are the film’s de facto heroes (he’s the stoic town sheriff and she’s his estranged fire-marshal wife) but the picture’s real MVP is Slade’s camera (along with cinematographer Jo Willems), which careens across the town’s snowy landscape to detail the vampires’ horrific assault on its inhabitants, which are quickly pared down to a hardy few. The script, co-written by the source material’s creator, Steve Niles, along with Pirates of the Caribbean‘s Stuart Beattie and Hard Candy’s Brian Nelson), proudly wears its influences on its crimson-stained sleeve (Bram Stoker’s Dracula, natch, but also Salem’s Lot, Night of the Living Dead, and John Carpenter’s version of The Thing) and boils down the graphic novels to a series of tense and extremely bloody standoffs between Harnett and George’s band of survivors and the vaguely Slavic and ferocious bloodsuckers led by Marlow (a feral and frightening Danny Huston). And if the characters seem stock and the finale begs suspension of disbelief, the set pieces leading up to it are sufficiently supercharged with suspense and violence to please most horror fans. Standouts in the supporting cast are Ben Foster as the film’s Renfield figure and Mark Boone Junior; the disturbing score by Brian Reitzell also merits a mention. —Paul Gaita
—
The problem with vampires is that, usually, they can’t go out in daylight. That means that, however menacing they might be after sunset, when morning rolls around again, the heroes can just dig ’em up and stick a stake in them. 30 Days of Night sidesteps the whole daylight problem by setting its story in Barrow, Alaska, a town which is so far north that during the winter, the sun doesn’t rise for a month at a stretch. It’s such a perfect setting for vampires that it’s almost shocking no-one’s thought of it before now.
30 Days of Night has another trick up its sleeve, too. Its vampires aren’t gothic hedonists who enjoy their claret out of jewelled goblets. Nope, these are vicious, nasty, brutal creatures who’d snap your neck as soon as look at you. They look terrifying, all misshapen foreheads and far too many teeth, and the creepy shrieking noise they make only makes it worse; they seem entirely inhuman. Barrow’s isolated, blizzard-stricken location makes for a literally chilling atmosphere even before the monsters show up.
The plot loses its way towards the end, and the inevitable triumph of the heroes stretches logic to its limits, but the setting is original enough to make up for that. 30 Days of Night isn’t a film you’ll forget in a hurry.—Catherine Haskins
