30 Days of Night is an adaptation of the comic written by Steve Niles with art by Ben Templesmith which is published by IDW since 2002. What Steve Niles did was to gather stories and legends that are common knowledge to perform an original story with great potential for both comics m (original media), as for the others since the idea would work perfectly well also in sitcoms and movies (how this adaptation). All we know for certain locations in cities, especially the poles with the same characteristics of constant cold like Alaska, the sun appears and hardly at certain times when the days are longer with large periods in the dark. We also know all the fascination vampire stories have always generated at all. The entire atmosphere of mystery and fear at these beings is something that provokes curiosity and attraction. And the idea of getting thirty days isolated in the cold, without notice, in the dark, trying to survive amidst vampires is, by itself, a situation that creates fear. Was ready the scenario of what could be one of the most terrifying movies and interesting movie. The film is competent, but suffers at some points.
Barrow, Alaska. During the 30 days of the local winter the city is in complete darkness. Almost all city residents decide to leave there these days, leaving for somewhere less depressing and frozen. Those who stay have to await the return of the sun and life. Something changes, however, when a stranger comes to town and announces that the end is near. They gradually falling energy, telephones, internet and all sorts of communication with the outside world. Initially interpreting such acts as acts of vandalism, the local sheriff, Eben Oleson (Josh Hartnett), deals with his own personal problems such as cancer of her grandmother (Elizabeth McRae) and teenage brother Jake (Mark Rendall). Additionally, to deal particularly with the recent separation from his wife, Stella (Melissa George), who was for him to refuse to have children, even with both still harboring feelings for one another. When the officer and the other residents realize what is happening, it is too late. Only decapitation or ultraviolet radiation can deter the creatures. As a direct confrontation is almost suicide and the sun will not rise for the next thirty days Barrow, what remains for the group of survivors led by Sheriff's hiding until dawn.
The adaptation was written for the screen by Stuart Beattie, Brian Nelson and the actual creator of the comic Steve Niles, which certainly contributes greatly to the work keep the main feature of the comic. The writing team can better explain some ideas of comics and there are no problems when it is wisely discarded in film, for example, the sub-plot of vampire hunters who comes from New Orleans. Spare, so more time to develop the drama of the city and the characters. Another point is the protagonist couple Eben and Stella. In the comics the two are very much in love, because in the movie they are separating. Surely this is a device used to enhance the final climax of the plot. And it works well, especially since the development of the other characters is poorly performed.
Sam Raimi, who directed the horror classic The Evil Dead (1981) was very interested in the project and even thought about driving it, but it ended up being just as a producer, passing the command to David Slade, I had only the excellent thriller Hardy Candy (2005) on his resume. In his first work, Slade actually managed to create a constant atmosphere of tension with few resources, scenarios and focusing dialogues and actions in almost two competent actors (Patrick Wilson and Ellen Page).
With a budget of $ 32 million, Slade is competent, but the feeling is that it is still the story could have been better explored. Maybe not the fault of the director who managed to create a great backdrop for the development of suspense, but mostly by script. The script does not work to present and create a bond with the characters the audience. Especially for a small group of people trying to survive the onslaught of vampires, this development that would make us care about the anxieties and dramas was essential. Even the protagonist couple Eben and Stella are poorly developed. We stayed the whole movie trying to know the real reasons that caused parted, and fail to see the chemistry between the actors. They end up looking like two more people in the group trying to survive and when you try to speak more of their relationship, always seems forced and out of place in the general context. Even the couple's friends in the film do not know exactly what happened in their relationship. This all undermines the very act of selfless Eben at the conclusion of the plot. Already the other human actors, are used only for issues narratives. The exploration of the personal dramas of the characters was essential to amplify the terror and the public more involved. Slade loses all chances to create an interesting drama amid suspense, from the plight survivors. Never see them struggling every day, that would make everything more realistic. What becomes more important is Eben's brother, Jake. The movie does not invest much in the suffering of the boy to see the death of a loved one, or during a violent act he is forced to commit. The character, however, appears to be recovered shortly thereafter.
Vampires also arise only as the great villains bloodsuckers. Besides the characters practically limited to grunt and open mouth showing teeth, any question that addressed some of the secular history of the group is not even mentioned. 30 Days of Night also fails to follow the rules of their own world. Little is revealed about how vampires die, but at some point we deducting the only two modes are by decapitation or by ultraviolet light. At one point, a character says that they withstand bullets, but soon after they fall with a few shots. They feel the shots but not enough to be killed? Or are they dead? We cannot know. Sometimes they achieve speeding cars, while in others they cannot get a kind of tractor.
The passage of time is also somewhat misplaced. Speak a few times even as missing until this nightmare is over, and when it is spoken there is a enormous amount of days between the actions of the film. There is a feeling that something is progressive. This spacing day is poorly explained. Virtually the entire first half occurs during the first day of winter, as residents look for ways to escape the attacks. Soon after the plot jumps seven days, revealing that the characters are still in the same place where they decided to hide. How to survive until then? Vampires stopped attacking? It is not natural to the audience as if they were gaps to be filled.
Josh Hartnett and Melissa George not compromise even with little chance to build a relationship between your characters. Ben Foster can deliver a performance slightly above average as odd that announces the arrival of vampires. Danny Huston as the leader of the vampires, Marlow also has little to stand out, as well as his followers.
Editing Art Jones is good, but at times when the group tries to hide the film's pace plummets, and the suspense gives way to boredom. But the action scenes interim know well with others and that feeling of monotony is largely forgotten at the end of the projection. Already the art direction of the double Nigel Churcher and Mark Robinse, and photography Jo Willems work hard to promote the construction of fear. The Snow White and the visual presence of vampires in each scenario because of the gloomy weather needed immediately. The sense of isolation from humans, the climate always night and look that resembles the one used in the comic is very satisfactory. The general plan air showing the initial attack of the vampires in the bloodbath contrasts with the white snow is very well directed.
David Slade sins mainly not create anything new to the Vampires, just before reusing elements already used for humans. The camera shows Slade shameless massacres occurring in Barrow, and not excessively fast assembly appeals to the more violent scenes, further increasing the impact of the images. The violence and excessive blood eventually prevailing to the script that has several flaws. It is a good vampire movie, but the feeling we get is that the end result could be one of the most amazing in recent times, but that just ended up being a good movie.
Barrow, Alaska. During the 30 days of the local winter the city is in complete darkness. Almost all city residents decide to leave there these days, leaving for somewhere less depressing and frozen. Those who stay have to await the return of the sun and life. Something changes, however, when a stranger comes to town and announces that the end is near. They gradually falling energy, telephones, internet and all sorts of communication with the outside world. Initially interpreting such acts as acts of vandalism, the local sheriff, Eben Oleson (Josh Hartnett), deals with his own personal problems such as cancer of her grandmother (Elizabeth McRae) and teenage brother Jake (Mark Rendall). Additionally, to deal particularly with the recent separation from his wife, Stella (Melissa George), who was for him to refuse to have children, even with both still harboring feelings for one another. When the officer and the other residents realize what is happening, it is too late. Only decapitation or ultraviolet radiation can deter the creatures. As a direct confrontation is almost suicide and the sun will not rise for the next thirty days Barrow, what remains for the group of survivors led by Sheriff's hiding until dawn.
The adaptation was written for the screen by Stuart Beattie, Brian Nelson and the actual creator of the comic Steve Niles, which certainly contributes greatly to the work keep the main feature of the comic. The writing team can better explain some ideas of comics and there are no problems when it is wisely discarded in film, for example, the sub-plot of vampire hunters who comes from New Orleans. Spare, so more time to develop the drama of the city and the characters. Another point is the protagonist couple Eben and Stella. In the comics the two are very much in love, because in the movie they are separating. Surely this is a device used to enhance the final climax of the plot. And it works well, especially since the development of the other characters is poorly performed.
Sam Raimi, who directed the horror classic The Evil Dead (1981) was very interested in the project and even thought about driving it, but it ended up being just as a producer, passing the command to David Slade, I had only the excellent thriller Hardy Candy (2005) on his resume. In his first work, Slade actually managed to create a constant atmosphere of tension with few resources, scenarios and focusing dialogues and actions in almost two competent actors (Patrick Wilson and Ellen Page).
With a budget of $ 32 million, Slade is competent, but the feeling is that it is still the story could have been better explored. Maybe not the fault of the director who managed to create a great backdrop for the development of suspense, but mostly by script. The script does not work to present and create a bond with the characters the audience. Especially for a small group of people trying to survive the onslaught of vampires, this development that would make us care about the anxieties and dramas was essential. Even the protagonist couple Eben and Stella are poorly developed. We stayed the whole movie trying to know the real reasons that caused parted, and fail to see the chemistry between the actors. They end up looking like two more people in the group trying to survive and when you try to speak more of their relationship, always seems forced and out of place in the general context. Even the couple's friends in the film do not know exactly what happened in their relationship. This all undermines the very act of selfless Eben at the conclusion of the plot. Already the other human actors, are used only for issues narratives. The exploration of the personal dramas of the characters was essential to amplify the terror and the public more involved. Slade loses all chances to create an interesting drama amid suspense, from the plight survivors. Never see them struggling every day, that would make everything more realistic. What becomes more important is Eben's brother, Jake. The movie does not invest much in the suffering of the boy to see the death of a loved one, or during a violent act he is forced to commit. The character, however, appears to be recovered shortly thereafter.
Vampires also arise only as the great villains bloodsuckers. Besides the characters practically limited to grunt and open mouth showing teeth, any question that addressed some of the secular history of the group is not even mentioned. 30 Days of Night also fails to follow the rules of their own world. Little is revealed about how vampires die, but at some point we deducting the only two modes are by decapitation or by ultraviolet light. At one point, a character says that they withstand bullets, but soon after they fall with a few shots. They feel the shots but not enough to be killed? Or are they dead? We cannot know. Sometimes they achieve speeding cars, while in others they cannot get a kind of tractor.
The passage of time is also somewhat misplaced. Speak a few times even as missing until this nightmare is over, and when it is spoken there is a enormous amount of days between the actions of the film. There is a feeling that something is progressive. This spacing day is poorly explained. Virtually the entire first half occurs during the first day of winter, as residents look for ways to escape the attacks. Soon after the plot jumps seven days, revealing that the characters are still in the same place where they decided to hide. How to survive until then? Vampires stopped attacking? It is not natural to the audience as if they were gaps to be filled.
Josh Hartnett and Melissa George not compromise even with little chance to build a relationship between your characters. Ben Foster can deliver a performance slightly above average as odd that announces the arrival of vampires. Danny Huston as the leader of the vampires, Marlow also has little to stand out, as well as his followers.
Editing Art Jones is good, but at times when the group tries to hide the film's pace plummets, and the suspense gives way to boredom. But the action scenes interim know well with others and that feeling of monotony is largely forgotten at the end of the projection. Already the art direction of the double Nigel Churcher and Mark Robinse, and photography Jo Willems work hard to promote the construction of fear. The Snow White and the visual presence of vampires in each scenario because of the gloomy weather needed immediately. The sense of isolation from humans, the climate always night and look that resembles the one used in the comic is very satisfactory. The general plan air showing the initial attack of the vampires in the bloodbath contrasts with the white snow is very well directed.
David Slade sins mainly not create anything new to the Vampires, just before reusing elements already used for humans. The camera shows Slade shameless massacres occurring in Barrow, and not excessively fast assembly appeals to the more violent scenes, further increasing the impact of the images. The violence and excessive blood eventually prevailing to the script that has several flaws. It is a good vampire movie, but the feeling we get is that the end result could be one of the most amazing in recent times, but that just ended up being a good movie.