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Daybreakers movie poster

CAST
ETHAN HAKE
VINCE COLOSIMO
WILLEM DAFOE
MICHAEL DORMAN
CLAUDIA KARVAN
JAY LAGA’AIA
ISABEL LUCAS
SAM NEIL
EMMA RANDALL

WRITTEN BY
MICHAEL SPIERIG
PETER SPIERIG

PRODUCED BY
CHRIS BROWN
BRYAN FURST
SEAN FURST

DIRECTED BY
MICHAEL SPIERIG
PETER SPIERIG

GENRE
ACTION
HORROR
SCIENCE FICTION
THRILLER

RATED
AUS: MA
UK: 15
USA: R

RUNNING TIME
98 MIN

DAYBREAKERS (2010)

A hybrid of future dystopian sci-fi and classic vampire conventions, Daybreakers is a horror movie which boasts as many ideas as it does bloodshed.

The film is written and directed by The Spierig Brothers, those madcap Aussie gorehounds whose Undead (released in 2002) contained the type of DIY filmmaking, that while an over reaching and muddled debut feature, was filled with the sort of spirit key to rejuvenating the Australian film industry.

Filmed in Australia (Queensland, to be exact), The Spierig’s successfully lured two American thesps, Ethan Hawke and Willem Dafoe, and flanked them with a fine cast of local talent (all using an American twang) in a film that has respect for vampire mythology, while approaching it in an innovative light.

Based in the year 2019, the viewer is introduced to a world where vampires have taken over the populace, with humans either “farmed” for their blood, or in hiding. A crippling blood shortage has brought dire consequences. A haematologist sympathetic to the human cause (Hawke, brooding) is charged by a diabolical pharmaceutical magnate (Sam Neil) to create a blood substitute which can be packaged and sold to the masses.

Things change, though, when Hawke’s pro-human non-blood sucker teams up with the resistance, led by a ham fisted Dafoe, who dispenses the cheesy action hero one liners like the seasoned pro that he is, oddly playing a live action variation of his fishy rebellion leader from Finding Nemo.

Evident is the social commentary in The Spierig’s preach, with its story of an immortal species unable to quench its unending thirst, parallel to the real worlds struggle with its reliance on dwindling resources and its effects of an aging population. Obvious human rights and globalization riffs are also featured.

Wisely not allowing themselves to get bogged down by their message, The Spierig’s often let loose and unleash the blood with extreme prejudice, filling the frame with crimson splatter sure to appease many a horror fan. That many of these moments are preceded by crap inducing scares – which are well staged and scored (courtesy of Christopher Gordon) – gives credence that these men o’ horror do know how to set the stage before drowning it in an orgy of blood.

Looking at it with local eyes can prove to be distracting, since the Australian landscape is undistinguishable and often unconvincing as future America, no matter how much of a digital sheen is added for effect.

Yet its desire to put the blood back in the vampire film and genre in Australian cinema has to be admired. The Spierig’s could have easily packed their bags and gone stateside. That they decided to stay in Australia and inject some fun and colour to counter the dour same ol’, should make it appeal to the masses.

Unfortunately, if trends continue, this one could end up cult classic rather than box office game changer.

***
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