I attended the World Premiere of "Daybreakers" at the 2009 Toronto International Film Festival. Like many genre films being screened here, it's another fascinating hybrid -- let's call this one vampire sci-fi action adventure.
This Australian horror film (is it something in the water?) was written and directed by brothers Michael and Peter Spierig, the very same filmmakers who closed down the legendary Uptown Theatre in Toronto with "Undead" in 2003. That made this a homecoming of sorts. In fact, it turns out they'd been working on "Daybreakers" since that very day.
It's 2019, and there's been a role reversal -- the world is populated primarily by vampires. Humans are now a hunted minority and an essential food source -- think "Alien" meets "Soylent Green." Charles Bromley (Sam Neill) is the head of a mega-corporation which reaps hefty profits off the "arrangement." Ethan Hawke plays Edward, chief blood researcher. Later, we'll meet outlaw Elvis (Willem Dafoe). His role here becomes more pivotal as the story progresses but I'll leave it at that.
All are up to the task but, despite the presence of veterans Neill, Hawke, and Dafoe, "Daybreakers" is still story-driven and would be less effective if not for an ingenious plot filled with unexpected turns and nonstop action that had me on the edge of my seat, literally. The script is laden with unpredictable twists and shocking reveals that will surprise viewers. Horrific mutant creatures appear out of nowhere with perfect timing.
The brothers Spierig take a thorough hands-on approach, involving themselves in many of the technical aspects along with writing and directing. Ben Nott's sweeping cinematography and crisp editing by Matt Villa helps fulfill their vision of a dark world in which the protagonists are often difficult to identify.
Groundbreaking visual and special effects often elicited cheers from the audience here. I was wide-eyed from start to finish witnessing some of the most jawdropping stunts and shocking "kills" I've seen in a genre film. The color palette is essential to the story as, of course, the undead can only come out at night. Since most shots are necessarily interiors or in darkness, pushing the blue reflects the bleak lighting conditions under which the population lives, as well as the washed-out appearance of what (we imagine) vampires look like. As in most genre movies, sound is as essential to the story as are characters, and composer Christopher Gordon's masterful score matches up with the brilliant work of the effects team to punctuate the many intense action sequences.
Michael and Peter Spierig attended the screening along with Willem Dafoe and Sam Neill. The Q&A ran well into the early morning hours.
(NOTE: "Daybreakers" was the runner-up for the Midnight Madness Cadillac People's Choice Award)
This Australian horror film (is it something in the water?) was written and directed by brothers Michael and Peter Spierig, the very same filmmakers who closed down the legendary Uptown Theatre in Toronto with "Undead" in 2003. That made this a homecoming of sorts. In fact, it turns out they'd been working on "Daybreakers" since that very day.
It's 2019, and there's been a role reversal -- the world is populated primarily by vampires. Humans are now a hunted minority and an essential food source -- think "Alien" meets "Soylent Green." Charles Bromley (Sam Neill) is the head of a mega-corporation which reaps hefty profits off the "arrangement." Ethan Hawke plays Edward, chief blood researcher. Later, we'll meet outlaw Elvis (Willem Dafoe). His role here becomes more pivotal as the story progresses but I'll leave it at that.
All are up to the task but, despite the presence of veterans Neill, Hawke, and Dafoe, "Daybreakers" is still story-driven and would be less effective if not for an ingenious plot filled with unexpected turns and nonstop action that had me on the edge of my seat, literally. The script is laden with unpredictable twists and shocking reveals that will surprise viewers. Horrific mutant creatures appear out of nowhere with perfect timing.
The brothers Spierig take a thorough hands-on approach, involving themselves in many of the technical aspects along with writing and directing. Ben Nott's sweeping cinematography and crisp editing by Matt Villa helps fulfill their vision of a dark world in which the protagonists are often difficult to identify.
Groundbreaking visual and special effects often elicited cheers from the audience here. I was wide-eyed from start to finish witnessing some of the most jawdropping stunts and shocking "kills" I've seen in a genre film. The color palette is essential to the story as, of course, the undead can only come out at night. Since most shots are necessarily interiors or in darkness, pushing the blue reflects the bleak lighting conditions under which the population lives, as well as the washed-out appearance of what (we imagine) vampires look like. As in most genre movies, sound is as essential to the story as are characters, and composer Christopher Gordon's masterful score matches up with the brilliant work of the effects team to punctuate the many intense action sequences.
Michael and Peter Spierig attended the screening along with Willem Dafoe and Sam Neill. The Q&A ran well into the early morning hours.
(NOTE: "Daybreakers" was the runner-up for the Midnight Madness Cadillac People's Choice Award)