The seemingly never-ending stream of vampire-inspired films continues into 2010 with the release of “Daybreakers.” Studio executives are still flooding the big and small screen with all manner of supernatural beastlies. However, “Daybreakers” is a fair bit less romantic than the teen mobs inhabiting the “Twilight” screenings may be used to viewing. It is more a cursory study in vampire lore set in a bleak, not-so-distant future.
In 2009, an outbreak of vampirism is started by one infected bat. From this unassuming mammal’s nibble comes the dawning of the age of Nosferatu. Now a decade later, the remaining humans are either held sedated in mechanized farming colonies or on the run for their very lives. Very quickly one realizes that depth of plot is not going to be “Daybreakers’” strong suit. After a melancholy opening sequence, the film quickly degenerates into a bare-bones vampire flick guaranteed to bring on strong feelings of deja vu. Admittedly, the film noir quality is an interesting touch. It seems 2019 is going to see a run on ’40s fashion. However, this solitary tantalizing aspect is never expanded upon. Actually, nothing is expanded upon, ever. The reason for the infection, the thinking behind a cure, what all these busy white-collar vampires are working on, are just a few of the multitude of unanswered questions that are never addressed. Sadly, this is the film’s most consistent trait.
The vampire population is faced with a crisis. Its blood supply is running out, and without blood, the immortal’s human form undergoes a transition to a mindless beast more bat than human. This is the fate facing the entire undead population unless a team of scientists led by Edward Dalton (Ethan Hawke) can find a suitable synthetic substitute or a cure.
An auto accident brings Dalton into the company of human resistance leaders Audrey (Australian star Claudia Karvan) and Elvis Cormac (Willem Dafoe). They are in contact with an underground network of vampires that are searching for a cure, a cure that Elvis holds. The film’s few uniquely interesting moments are found in the struggle between vampires that relish their immortality and those that see it as a curse and in new technology employed to keep the ravages of sunlight at bay.
All of the traditional vampire legends apply in this film. Thus, the film is caught in a netherworld between dark comedy and thriller. It never settles in to become either serious enough to grab or comedic enough for consistent laughs. Coupled with the poor depth of plot and lack of any tinge of explanation, the film flounders on in an almost insultingly predictable fashion until it just ends.
Australian brothers Michael and Peter Spierig do offer some terrific camerawork and effects, but these visual trinkets are nowhere near enough to supplant the burden imposed by the empty plot.
Just like the flu, fads are almost seasonal, and this latest run on the vampire craze is most certainly on the downward slope. “Daybreakers” exemplifies what we are left with, and that is simply a glaringly obvious attempt to drain the last few monetary drops from an already dry corpse. Since this is what we are left with, perhaps we would all be best served if day broke on the entire genre.
Rating: W W
