17 February 2008

30 DAYS OF NIGHT - Another Fine Mess

Directed by another one of those music video directors turned film makers, David Slade's 2nd feature film, after the controversial and well received Hard Candy, 30 days of Night is a very ordinary and pedestrian by the numbers vampire flick which I desperately wanted to be good but sadly I was greatly disappointed once again by Hollywood's lack of originality and intelligence. I have still yet to see a film that has benefited from the shoddy and miserable acting skills of Josh Hartnett who whinces and grimaces his way through a film which needed much more attention in the writing phase. Recently, I have been having real problems finishing films which don't sustain my interest and unfortunately once the vampires turn up 30 minutes into the film I lost complete interest and had to restrain myself from wanting to categorise such a film as disposable trashy film making. However, 30 days of Night is a poorly conceived, structured and directed feature film. The emotional focus of the narrative is supposed to be a failing relationship between Josh Hartnett and Melissa George's characters, both who act as if they have never been in the same room as each other, never mind trying to convey a sense of misunderstanding. A good genre film is supposed to give audiences something new, something a bit different, just enough for us to not to treat the film with contempt. However, I thought the poster was great. The same can't be said for the film. Watch out for Ben Foster who yet again is learning the annoying Hollywood act of playing the same character over again just because his agent told him that typecasting gets you exposure and acting gigs quite easily. For further Ben Foster comparative references, please see the recent 3:10 to Yuma. Much has been said about how most of the best writers in Hollywood have disembarked to television land because they are recognised as auteurs with an identifiable voice and given the respect they deserve. Such a statement is proven true when you consider the poor screenplay and execution of what could have been a potentially interesting postmodern idea.

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