Forums Horror Movie Talk
The Most Overlooked Vampire Film of the Last Decade Is. . .

It takes something really special for a vampire film to invoke much emotion from me. Ironic when you conder the powerfully personal layers within the vampire mythos and my deep obseson for the genre as a whole. All the same, I’m naturally a tad cold (you'll get the pun soon) in reception and hetant in advance when it comes to the sub-genre.

Comedy has the potential to work quite well when paired with bloodsuckers, and action is a perfect companion, if the cinematography and choreography at work is executed with perfection. Atmosphere is always a big winner, but there aren’t all too many vampire films being released that are self-aware enough to recognize the appropriate mood and setting required to glimpse the prospect of greatness. There are plenty of tools at the disposal of filmmakers, and if the proper instruments are chosen, we tend to find ourselves delivered masterful works like, Let the Right One In, Near Dark, Shadow of the Vampire and Lost Boys.

The problem is, all too often the pieces of the puzzle are misassembled. You can almost nail a vampire movie, but almost doesn’t cut it for me in regards to these blood thirsty beasts. It has to be near-perfection to win me over.

Why the rant you ask?

Because it perturbs me to see vamp flicks that get it right, go universally unheralded.

For four years I’ve been waiting for American audiences to acknowledge the beauty of David Slade’s highly disturbing sub-genre offering, 30 Days of Night. Original comic scribe Steve Niles steps in to accompany fellow writers Stuart Beattie and Brian Nelson in their attempts at getting the story right, and believe me when I tell you the maneuver pays off in a major way.



Fear not comic fans (who may have thus far missed this enthralling film transfer) the major moments of impreson offered by the source literature aren’t overlooked in the least bit. “The Stranger” and his sabotaging of the small towns communication systems is still a vital piece of the story, as is the pivotal showdown between Sheriff Eben Oleson and uber bad guy, Marlow, and, ultimately, the unnerving finale. On film these sequences mirror the comic, and in a few instances (particularly the antics and nister persona of The Stranger) actually pack a more dramatic punch.

Beyond the faithfulness of this story lie some fantastic goodies for fans of anything horror related, namely, some truly transfixing surroundings unlike what we're accustomed to from Vampire features (which I won't get too into as I'll begin to gush) and heaps of absolutely superb gore. The decapitation sequences are undeniably remarkable, and rank amongst some of the most convincing gore you’ll spot in any film, be it a supposed “realistic” approach a la Saving Private Ryan, or an over-the-top raunch fest the likes of which, Herschell Gordon Lewis may offer forth. You just don’t spot gore articulated in this fashion very often, and for that, I’ve got to really applaud special effects crew, the WETA Workshop; very, very well done!



For all the visceral madness on hand, there’s a controlled method to Slade’s bleak direction. The story never gets ahead of itself, and despite decelerating during the second act in order to breathe genuine life into the primary characters, doesn’t allow for too much downtime. A fantastic climax tops a few absolutely mesmerizing chapters of film; delivered in the form of a violent showdown, directly followed by a sorrowful closure that sees the inevitable (I don’t want to completely spoil it for those unfamiliar with the tale) fate of a few survivors unravel in heart breaking fashion.I’ve read many a tirade aimed at the film’s cast, and I can’t lie to you: when I initially learned of Josh Hartnett’s casting as lead, Eben Oleson, I was terribly worried. Hartnett however, puts his teenie bopper image on the shelf, and willingly offers himself to the darkness of the story. He never tries to be the hero, he just is, and that’s a feat I didn’t believe Hartnett capable of making. A story such as this requires a believable lead, and amazingly, Josh is almost too believable; he’s downright haunting at times while projecting just enough alpha-male charisma to carry the flicks few survivors through their petrifying plight.



In short, 30 Days of Night gets it right. The picture didn’t produce spectacular box office numbers, and is generally condered a fair film, but that assessment itself isn’t exactly fair. 30 Days of Night is an excellent vampire feature. Not fair, excellent, and it’s about damn time genre fans broke their lence and recognized it for the work of beauty that is truly is.

Good movie, but I would argue Bitten is the the most overlooked, if you haven't seen it check it out. It's the inspiration for a novel I am writing.

i,ve never been too into modern vampire flms but this movie haha i loved it seriously

Good movie, but I would argue Bitten is the the most overlooked, if you haven't seen it check it out. It's the inspiration for a novel I am writing.

a solid film, though it reminded me quite a bit of Insatiable, just slightly inferior (for some reason I have a soft spot for Flanery, no homo lol). Not the exact same story, but a pretty milar concept with a bit less romanticism.

i,ve never been too into modern vampire flms but this movie haha i loved it seriously

i'm with you 200%

Normally I don't take a realistic approach when I view a movie, I watch it and put all logic behind. But I can't do that with this particular movie, here's why - so we got this group of bloodsuckers who head to Barrow, Alaska where it's dark for 30 days. They slaughter most of the town with the exception of like 10 town folk. Move on. Who cares about the few that are left. Is it really worth the effort?

Compare it to robbing a bank. You head in to the bank knowing you have 30 minutes before the police will arrive. Do you stick around the whole time searching for every last cent? Or do you grab a majority of the cash and flee leaving just a couple of bags behind?

Normally I don't take a realistic approach when I view a movie, I watch it and put all logic behind. But I can't do that with this particular movie, here's why - so we got this group of bloodsuckers who head to Barrow, Alaska where it's dark for 30 days. They slaughter most of the town with the exception of like 10 town folk. Move on. Who cares about the few that are left. Is it really worth the effort?

Compare it to robbing a bank. You head in to the bank knowing you have 30 minutes before the police will arrive. Do you stick around the whole time searching for every last cent? Or do you grab a majority of the cash and flee leaving just a couple of bags behind?

and therein lies the beauty: yes, you absolutely care about those few survivors! (at least, I sure as hell did!) lol

I did really enjoy this movie, and the end scene was badass ha. As far as looking at logical choices the vampires make or don't make, I think it's best not to question it. They are supernatural, so that allows them to do almost anything because of their mystique and the fact that there is no logical reason for vampires to exist in the first place, if that makes sense (and if not, sorry to waste the reading time lol). It almost as if they can't be held to human logic, because technically they aren't human.

Normally I don't take a realistic approach when I view a movie, I watch it and put all logic behind. But I can't do that with this particular movie, here's why - so we got this group of bloodsuckers who head to Barrow, Alaska where it's dark for 30 days. They slaughter most of the town with the exception of like 10 town folk. Move on. Who cares about the few that are left. Is it really worth the effort?

Compare it to robbing a bank. You head in to the bank knowing you have 30 minutes before the police will arrive. Do you stick around the whole time searching for every last cent? Or do you grab a majority of the cash and flee leaving just a couple of bags behind?

I don't recall if it's made explicit in the film, but at least in the comic series, I believe the idea is that they don't want the slaughter known worldwide; anyone escaping would have stories to tell to the rest of the world and, believing in vampires or not, it would put some heat on what is generally a hidden group.

Normally I don't take a realistic approach when I view a movie, I watch it and put all logic behind. But I can't do that with this particular movie, here's why - so we got this group of bloodsuckers who head to Barrow, Alaska where it's dark for 30 days. They slaughter most of the town with the exception of like 10 town folk. Move on. Who cares about the few that are left. Is it really worth the effort?

Compare it to robbing a bank. You head in to the bank knowing you have 30 minutes before the police will arrive. Do you stick around the whole time searching for every last cent? Or do you grab a majority of the cash and flee leaving just a couple of bags behind?

I don't recall if it's made explicit in the film, but at least in the comic series, I believe the idea is that they don't want the slaughter known worldwide; anyone escaping would have stories to tell to the rest of the world and, believing in vampires or not, it would put some heat on what is generally a hidden group.

It's touched upon in the film, but not nearly as pronounced as whats offered by the comics - the feuding between the vampires is also pretty much eliminated from the picture.

I think i'll have to bust this one out of the collection tonight. I was pretty much blown away by this flick the first time i saw it. I think part of what sets this one apart from others is how aggresve and violent the vampires are. They aren't trying to whine and dine you. (whether that be in the literal sense or figurative, ala Near Dark bar scene) These bloodsuckers are trying to rip your fucking throat out and they are genuinely scary. Kind of like a 28 days later zombie, mixed with a Cenobite, mixed with Wesley Snipes.