conflict in the vampire ranks I
do not remember this comflict in the original 30 Days of Night story. I
do remember some conflict in Dark Days. Otherwise, comic itself was
kind of boring within itself. The concept and the art are great. But
the writing is way too bare. This is definitely one of those comics
that really needed a film adaptation. I plan on forcing my boyfriend
into seeing this this weekend.
I
also agree that it is nice to see a vampire film once in a while where
they do not sit around depressed about their immortality and having to
eat people. Pretty vampires are nice and all, but every movie does not
need the goth inspiration.
Mike
D has it right. The idea isn't necessarily fleshed out in the comic—
which is a very slim, minimalistic volume by design— but I thought it
was a pretty nice little twist and I was disappointed that it wasn't
really an issue in the film. It also ups the stakes a bit: Rather than
savor the month-long Barrow buffet, the vampires now have to destroy the
town completely or else risk their secret getting out.
"Working
from the 28 Days Later model, 30 Days Of Night presents vampires that
are faster, stronger, and more capable than their human counterparts,"
Correct
me if I'm wrong, but 28 days later featured Zombies. Which save a few
instances are all slow and decaying corpses whose strength lie in
numbers and not speed. Vampires on the other hand are almost always
faster, stronger and intelligent when it comes to their hunting.
I
can go either way for the goth vampires of sexual exuberance (Ann Rice
anyone?) or the cruel, cold, heartless and fearsome hunters of the
night. Both are equally good, but both are always fast and intelligent.
You
make a fair point, but screen vampires are traditionally more elegant
and theatrical in how they go about their business. Here they're quite
animalistic and feral, as me1 says, and have a relentlessness that I
think owes something to the 28 Days Later model.
"No God" The
trailer of this movie is on every channel at every commercial break
24/7. If I hear that dorky looking yuppie vampire say "no god" one more
time I'm gonna freak out.
I
get that the line is supposed to be scary in that it plays off of
religious peoples existential hang ups, but I also think its really
funny that a mythological creature is denying the existence of God.
I'll
start fighting this international vampire conspiracy you speak of right
after I finish driving several stakes through the hearts of some Masons
and Jewish bankers.
not so bad, after all I
just saw this movie, with exceedingly low expectations, and I was
surprised to find that I liked it. It's better than it needs to be (to
paraphrase Roger Ebert), but it's not as good as it could be, given the
premise.
Some observations:
One
caption at the beginning tells us that it's the "last day of sun," and
the characters are striving to break the tape of that thirty-first day,
when another sunny day will dawn. Evidently, instead of a slow
dwindling and re-emergence of the sun, when a "day" might be a couple of
hours of the sun barely breaking the horizon, there is a huge celestial
pull-chain attached to the Alaskan sun, and it's lights-out for a
month.
For
the entire movie, at least in the back of my mind, I kept trying to
place character actor Mark Boone Junior (he sort of looks like a
bulkier, bearded and long-haired Vincent D'Onofrio). Now, looking over
his credits on IMDB, there's not one damn thing that would have given me
cause to recognize him. I guess his face has been in enough bit parts
that some sort of memory has accumulated. Anyhow, he's actually quite
good in this movie.
One
character frets about the vampires in a predictably expository way,
breathlessly speculating on their next move once they have destroyed the
town of Barrow. She says they will move on to a couple of other
barely-populated cities above the Arctic Circle. That's it. That's the
vampires' master plan. The apocalyptic culmination would be, what,
Fairbanks? Watch out, midnight golfers!
I
actually thought the shark-eyed and -toothed vampires were somewhat
scary, but they screech and squawk way too much, which is annoying above
all else. More than anything, I just wanted someone to shut them up.
When
your friend is turning into a vampire, a quick shove into a giant
mechanical grinder is crude, but hacking at his neck with an axe, which
requires several blows to get through the spinal cord as his head flops
around off his shoulder, is a more elegant coup de grace which audiences
can more easily accept.
conflict in the vampire ranks
I do not remember this comflict in the original 30 Days of Night story. I do remember some conflict in Dark Days. Otherwise, comic itself was kind of boring within itself. The concept and the art are great. But the writing is way too bare. This is definitely one of those comics that really needed a film adaptation. I plan on forcing my boyfriend into seeing this this weekend.
I also agree that it is nice to see a vampire film once in a while where they do not sit around depressed about their immortality and having to eat people. Pretty vampires are nice and all, but every movie does not need the goth inspiration.
SPOILERS AHEAD FOR COMIC AND MOVIE BOTH…
Mike D has it right. The idea isn't necessarily fleshed out in the comic— which is a very slim, minimalistic volume by design— but I thought it was a pretty nice little twist and I was disappointed that it wasn't really an issue in the film. It also ups the stakes a bit: Rather than savor the month-long Barrow buffet, the vampires now have to destroy the town completely or else risk their secret getting out.
Wasn't this sort of the same conflict as in the first BLADE?
America needs a film about vampires who are big country music fans.
Angola probably needs one too…
I could not possibly agree more!
Something is not right with…
This comment,
"Working from the 28 Days Later model, 30 Days Of Night presents vampires that are faster, stronger, and more capable than their human counterparts,"
Correct me if I'm wrong, but 28 days later featured Zombies. Which save a few instances are all slow and decaying corpses whose strength lie in numbers and not speed. Vampires on the other hand are almost always faster, stronger and intelligent when it comes to their hunting.
I can go either way for the goth vampires of sexual exuberance (Ann Rice anyone?) or the cruel, cold, heartless and fearsome hunters of the night. Both are equally good, but both are always fast and intelligent.
You make a fair point, but screen vampires are traditionally more elegant and theatrical in how they go about their business. Here they're quite animalistic and feral, as me1 says, and have a relentlessness that I think owes something to the 28 Days Later model.
Mindless creatures infected with some disease are the same as zombies. The key is mindless.
"No God"
The trailer of this movie is on every channel at every commercial break 24/7. If I hear that dorky looking yuppie vampire say "no god" one more time I'm gonna freak out.
I get that the line is supposed to be scary in that it plays off of religious peoples existential hang ups, but I also think its really funny that a mythological creature is denying the existence of God.
In the film, I believe the vampire actually says, "Gah? [looks up, into the pitiless black sky, to emphasize his point] No Gah."
They must have redubbed that bit of dialogue for the trailer, so that the vampire didn't sound like a two-year-old.
I will not be seeing this movie
because I believe it is wrong to funnel still more money to the international vampire conspiracy.
when we all know the werewolves can use the dough
I'll start fighting this international vampire conspiracy you speak of right after I finish driving several stakes through the hearts of some Masons and Jewish bankers.
not so bad, after all
I just saw this movie, with exceedingly low expectations, and I was surprised to find that I liked it. It's better than it needs to be (to paraphrase Roger Ebert), but it's not as good as it could be, given the premise.
Some observations:
One caption at the beginning tells us that it's the "last day of sun," and the characters are striving to break the tape of that thirty-first day, when another sunny day will dawn. Evidently, instead of a slow dwindling and re-emergence of the sun, when a "day" might be a couple of hours of the sun barely breaking the horizon, there is a huge celestial pull-chain attached to the Alaskan sun, and it's lights-out for a month.
For the entire movie, at least in the back of my mind, I kept trying to place character actor Mark Boone Junior (he sort of looks like a bulkier, bearded and long-haired Vincent D'Onofrio). Now, looking over his credits on IMDB, there's not one damn thing that would have given me cause to recognize him. I guess his face has been in enough bit parts that some sort of memory has accumulated. Anyhow, he's actually quite good in this movie.
One character frets about the vampires in a predictably expository way, breathlessly speculating on their next move once they have destroyed the town of Barrow. She says they will move on to a couple of other barely-populated cities above the Arctic Circle. That's it. That's the vampires' master plan. The apocalyptic culmination would be, what, Fairbanks? Watch out, midnight golfers!
I actually thought the shark-eyed and -toothed vampires were somewhat scary, but they screech and squawk way too much, which is annoying above all else. More than anything, I just wanted someone to shut them up.
When your friend is turning into a vampire, a quick shove into a giant mechanical grinder is crude, but hacking at his neck with an axe, which requires several blows to get through the spinal cord as his head flops around off his shoulder, is a more elegant coup de grace which audiences can more easily accept.