It really must suck to be a vampire in this day and age.

They must really miss the good ol’ days, nights full of sex and seduction, interrupted by the occasional bit of monstrous bloody carnage.

Not today. It seems in this post-Twilight era, to be a vampire you have to loathe what you’ve become and spend your nights moaning all emo about buy cialis domain the oddly bland-looking human you’re in love with, and instead of resorting to bloody carnage, you’ve given up blood sucking entirely, whittling away the hours enjoying how prettily you sparkle in the sunlight.

For all the other old-school vampires who today must be lurking even further in the shadows, Daybreakers must come as a breath of fresh air.

That’s right – finally a film with vampires who drink blood, can’t see themselves in mirrors, and who burn up (and go ka-splat!) in the sunlight.

There’s no angsty sun-sparkling here.

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Daybreakers is a meaty, blood-splattered film which, much to my surprise, I enjoyed a whole lot more than I ever thought I would, also in despite of some fairly heavy preconceptions.

Truth be told, I did a bit of visual effects work on the film (… they called me the meat-explosion guy… ) way back in the dying months cialis pills of 2007, and had been left wondering what on earth happened to it post post-production that it’s now 2010…

Back then I read a version of the script and loved the premise. It’s set in 2019 (or somewhere around then) the world is now almost completely populated by vampires, humans having lost the battle against what they call an outbreak. Vamps don’t just hang out in castles now – they live in the cities, drive the cars, go to work, and hang out pretty much as people did before, only at night time.

Trouble is, without that many humans left, their food (i.e. blood) supply is nearly out, and they’re pretty much screwed. See, if the Daybreakers vampires don’t drink human blood buy cialis tadalafil at horizon drugs then after a while they turn into these uber-vampire batty creatures called subsiders and… well, you get the picture.

Set within that world, Ethan Hawke plays a blood researcher trying to come up with a synthetic blood supply, and after a random car accident, gets mixed Buy elimite up with a bunch of underground rebel humans who have found a cure to vampirism…

I how to buy viagra without prescription | buy cialis line | generic levitra online won’t go any further, but suffice to say it’s a very well-thought-out world woven together with a couple of intelligent (though far too thinly-veiled) resource/environmental analogies, and on the whole does its genre more justice than any other vampire film in recent memory.

The other thing I should point out though was that I viewed the film as someone who knew it was made for about $25 million by a couple of Australian boys, the Spierig Brothers. When you know something cialis tabs hasn’t got a massive-by-hollywood-standards budget, you go in know it isn’t going to be all that polished, and had already heard it had quite a rushed, sloppy ending, and (I wonder if I can get in trouble for saying this) cheapest levitra some occasionally ropey visual effects shots.

Having said that, I was pleasantly surprised at how far above my expectations the film managed to get. The premise itself (and how they handled it particularly in the first 30 minutes) felt very fresh and original up on screen, the photography seemed very slick and stylish (the look of the film felt a lot better than your average lower-budget film) and it moved along at a cracking pace.

There are plenty of (almost too many) shock/jump moments, and quite a bucket-load of splatter-gore, and what I liked about the latter was that, as opposed to many gory films like Saw etc. of the last couple of years, it was nice to see the gore used purely for shocks and laughs, rather than in a cruel or sadistic way.

There’s even a fantastic “surprise vomit” scene. Really, can you beat a “surprise vomit” scene?

The film is not without quite a few flaws.

The ending reeks of some heavy-handed re-editing, you could see a lot of the vfx shots from a mile off because the colour was all whack, several of the acting performances were a little Home-and-Away-level (oh, including the Home-and-Away alumni herself, Isabel Lucas. Hot, yes. Acting? …. Hmmm… ). I usually enjoy Willem Dafoe a lot more than I did in this too – he wasn’t bad (I don’t think he can be) but I suppose I was expecting more from him.

And seriously, what was up with Ethan Hawke’s wardrobe?

The last 20 minutes of the film he bounds around wearing an vest-based outfit I can only recall having seen worn with such brazen disregard for the onscreen fashion police since the days of Han Solo.

Bottom line for me is that this is a real mixed bag of a film. The things that were good about it were really good, but they were sadly surrounded by a lot of dodgy technical stuff which reminded you of the films lower budget.

Overall I’d still totally recommend it to any VPXL Online fan of the horror, sci-fi or old-school splatter genre.

There’s a lot of similarity to Peter Jackson’s early work in the schlock of it, and a lot of Bladerunner etc. in the dark-distopian-future-ness of it, both of which make the film very entertaining viewing despite the other very obvious short-comings.

What I’d love to see is what these Spierig boys could come up with if they were given a much larger bu cialis free trial offer dget and a lot more studio guidance/steering. Their ideas, humour and visual sense are quite exceptional, and I feel like buy generic zithromax they only lose out in their execution somehow in a way that studio monkeys would not let them lose in under more watchful production-overlords’ gaze.

Totally worth checking out.

If for nothing else than it’s nice to see some creative gory splatter sci-fi being made in Australia (i.e. an Aussie film which isn’t a depressing dysfunctional-yet-quirky family drama involving suicide, prostitution or both) aiming at nothing higher than a few gory laughs and a big box of popcorn.