Deep Freeze: "30 Days of Night"
Sheriff Eben Oleson: Hell of a day.
The Stranger: Just you wait.
Successful horror movies dig into our unconscious and not-so-unconscious fears: abandonment, entrapment, dismemberment, loss of loved ones, all the bad stuff. Attach vampires to the above and you can add decapitation, eternal damnation, and engorged incisors to the list.
So many vampire flicks and parodies have come down the path over the years that it would take a lot to overcome most folks' built-up indifference to the genre. David Slade's 30 Days of Night, based on the three-issue comic series by Steve Niles, attempts to do so with a few tricks in its arsenal. For one, it's set in the northern Alaskan town of Barrow, a desolate place that is submerged in darkness for 30 days each year (for the record, in real life it's 67) -- the perfect feeding ground for bloodsuckers who don't mind dining in sub-zero temps. The selection of Slade, best known for the gritty Heath Ledger drug drama Hard Candy, also hinted that the film wouldn't be splatter hijinks as usual -- not much difference between self-destructive addicts and undead junkies, after all.
The first image of the film, in which a Stranger (Ben Foster) emerges at the top of a peak, the beached wreckage of a freighter behind him, is a beaut. In the valley below, the residents of Barrow prepare to pack it in for the winter, as all communications and transport routes to the town will be cut off. Keeping a watchful eye on the residents is young sheriff Eben Oleson (Josh Hartnett) and his deputy Billy (Manu Bennett). Through them we meet the usual motley cast of characters that you know will come into play later in the film: Beau the crotchety misanthrope (Mark Boone, Jr.), a son nursing a father with Alzheimer's (Craig Hall and Chic Littlewood), and most crucically, Eben's little brother Jake (Mark Rendall) and his estranged wife Stella (Melissa George), who gets stuck in town when she misses the last flight out. The tension builds in slight degrees as the sun sets on Barrow: cell phones are inexplicably found destroyed, sled dogs are mutilated, power outages take hold, and the mysterious deaths begin to rise. As the chill feeling of isolation grips the ever-dwindling nest of survivors, we rub our hands, ready for the sensual and emotional assault to reach the next level.
The lapses in narrative momentum might be more forgivable if the characters were memorable, but no such luck: Hartnett makes for a snivelly protagonist, and while George is easy on the eyes, her repartee with Hartnett doesn't get much deeper than the usual "we couldn't get along, but I guess we love each other after all" shtick. Foster puts in the most striking peformance as the Stranger, although "performance" may not be the best way to put it: twitching like there's no tomorrow, his face nearly coal-black with grime and an unkept beard, eyes bulging, every word out of his mouth a weasel's rasp, he is an instant parody, Charlie Prince from 3:10 to Yuma by way of Hammer Films.
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