Vampires as an endangered species? Daybreakers takes the premise and sinks its fangs into the notion that sucking too much blood is just as unsustainable as overfishing. Neither a teen-friendly Twilight clone nor a True Blood -style Southern Gothic romp, Daybreakers is scarier than most contemporary takes.
The setup: Vampires have sucked the planet nearly dry and driven humans to the brink of extinction. The resultant blood shortage threatens vampire survival and sends scientists and money-hungry corporations on a race to find a substitute.
The R-rated Daybreakers, opening Friday, depicts a future world dominated by vampires. No longer shadowy outcasts, vampire cops try to control vampire riots when the blood supply falters. Vampire scientists work in vampire-run labs. Homeless vampires live beneath city streets and devolve into something far worse than hungry hobos when they can’t find food.
It’s a novel concept and Australian filmmaking brothers Michael and Peter Spierig milk the premise for a wealth of compelling details: a missing image in a rear-view mirror, cool mods that make a Chrysler vampire-safe for daytime rides, the gross-out results of a bloodsucker with an empty belly. All offer fresh little pleasures that make sense within the weird Daybreakers alterna-verse.
Ethan Hawke plays brooding hematologist Edward Dalton, excessively burdened by his joyless existence. A well-paid vampire who refuses to drink pricey human blood on moral grounds, Dalton hopes his research can save the world even as his bloodsucking bastard of a boss (played one-dimensionally by Sam Neill) puts profits ahead of anything approaching humanity.
The always-powerful Willem Dafoe turns in yet another wildly entertaining performance as vampire hunter Lionel “Elvis” Cormac. Leader of the underground human resistance, Elvis has a thing for crossbows and fast cars along with a secret that motivates him to partner with Dalton.
The man-versus-vamp conflict, futuristic trappings and corporate intrigue give Daybreakers an early lift, but momentum erodes with a blast of third-act silliness comprising bloodbaths, bombastic soundtrack music and overly convenient plot contrivances.
Despite the descent into low-budget horror schlock and away from high-concept sci-fi, Daybreakers delivers a fair share of visceral jolts, entertaining comic book dialogue and a weirdly explosive vibe reminiscent of David Cronenberg’s classic Scanners.
WIRED Chrysler’s vampire-ready sedan; retro-futuristic blood booths; horrifying blood-deprived vamps.
TIRED News clips as storytelling crutch; bats.
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