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Daybreakers argues that there may still be new terrain to be strip-mined in recently over-exploited vampire genre. As far removed from the Twilight saga as can be imagined, Daybreakers features vampires closer to the classic breed...you know, actual Max Schreck, Christopher Lee, Bela Lugosi type vampires! They're fierce and hungry, have red eyes & fangs, do not cast reflections, can be killed by a stake through the heart, and burst into flames in the sun (no sparkling at all). Smartly constructed and enjoyably energetic, Daybreakers is an immensely inventive vampire fare containing a surplus of interesting ideas concerning vampire mythology, vampire physiology and the sociological implications of a vampire world. It's also a total blast from beginning to end.
The story takes place in the year 2019, when a viral outbreak has transformed most of the planet's population into vampires. Humans have become an endangered species, and are hunted as a food source. Unfortunately, the human blood supply is running low, and a major blood bank is hastily seeking an emergency blood substitute. Morally conflicted vampire Edward Dalton (Hawke) is charged with developing this blood substitute, but is soon compelled to join forces with a group of renegade humans - led by a woman named Audrey (Karvan) and a man who calls himself Elvis (Dafoe) - who are working on a cure for vampirism. Elvis is an ex-vampire who inadvertently found a cure but has no idea about the specifics or how to scientifically replicate it. This task falls to Edward, who in turn becomes the largest threat to vampire dominance.
And yes, before you feel clever for pointing it out, the lead vampire character of Daybreakers is named Edward. But this Edward does not sparkle and mope. Instead, he doubts and smokes.
For Daybreakers, the Australian filmmaking duo of Michael and Peter Spierig grasped vampires and have made them feel real. The best parts of this film relate to exploring the society that may emerge in the scenario of vampires dominating the planet, including the potential economic, political, technological and military implications. An enthralling world has been constructed here that's loaded with brilliantly nuanced touches. Consider, for instance, the fact that coffee establishments substitute blood for cream, or the technological advancements that protect vampires from the sun (cars are outfitted with camera navigation and retractable sun shields for daytime driving, and soldiers are equipped with metal outfits so they can walk around outside during daylight). As it turns out, vampirism is big business, and the businessmen are less than pleased by the notion of a cure. Daybreakers is primarily an action-thriller, and the Spierig Brothers have filled the movie with traditional elements, but more thought and attention went into mapping out the scenario than one usually uncovers in this type of flick.
Thankfully, the Spierig Brothers are not only talented writers but talented directors as well. When the politics and allegories take a nap, Daybreakers is an effective, atmospheric, entertaining genre romp with top-drawer suspense and gallons of blood. For its shockingly modest budget, this is a sleek and attractive motion picture that captures the noir spirit exceptionally well. Granted, the filmmakers end up leaning heavily on rote clichés for the film's closing third, but at least the writer-directors provide a satisfying offering of tension and twists during this period, and - above all - it's extraordinarily well executed. In essence, everything Daybreakers had to do right is done right, though there are some occasionally distracting visual effects which look tragically cartoonish. There are occasional lags in the pace too, yet it's easy to overlook the draggy moments because of the solidity of the rest of the movie.
(Look! Hawke is dressed like Han Solo!)
Since Daybreakers is a 90-minute package, the characters are cardboard cut-outs. However, they adhere to enjoyable archetypes, and this prevents them from feeling as flat as they may otherwise appear. Unfortunately, Ethan Hawke is rather lacklustre as Edward Dalton, and never truly feels like he's genuinely committed to the material. (Oh, and as YouTube reviewer Jeremy Jahns noted, about two thirds into the movie, Hawke is dressed like Han Solo. It's pretty cool.) Willem Dafoe's performance, however, is an absolute delight; conveying tremendous energy and charm for his borderline over-the-top interpretation of vampire hunter Elvis. Another impressive addition to the acting roster is Australian actress Claudia Karvan, who has appeared in films since childhood but who's a relative unknown outside of her native country. Rounding out the cast is Sam Neill, who's terrific in his role as a corporate scumbag who's paranoid about the financial drawbacks of a cure for vampirism.
Like RoboCop and the recent District 9, Daybreakers is a sharp social satire dressed up as a badass genre flick. It will satisfy the thinkers of the audiences as well as those seeking entertainment, as it has both style and smarts. In short, it's extremely satisfying.
7.7/10
