30 päivää kaamosta

113 pitkästyttävää minuuttia elokuvateatterissa... Ajattelin jo, ettei minulle voi käydä näin ja tämä olikin ensimmäinen kerta. Toivon, että se oli myös viimeinen. Ensimmäistä kertaa kaduin lippuun tuhlaamiani rahoja. Itse juoni lähtee vauhdikkaasti käyntiin, mutta sitten elokuva tyssää tuhat kertaa nähtyyn murhaamiseen ja piileskelyyn. Elokuva voisi olla kiinnostavampi, jos siinä edes yritettäisiin kertoa, mistä hirviöt ilmestyivät ja miksi ne juoksentelevat ympäri kyliä, tai jos käsikirjoitus keskittyisi kuvailemaan kolmenkymmenen päivän pimeyden aiheuttamaan avuttomuutta. Sen sijaan kaikki yritykset lähestyä tilannetta tai hahmoja psykologisesti päättyvät lähinnä naurettavasti. Ainoa asia, josta pidin, oli silloin tällöin kiinnostava kameratyöskentely. (05.11.2007)

The esteemed British gentleman of the theater Danny Huston in the role of a vampire leader in a classically written horror movie? Sam Raimi is a strong and resourceful producer. From the introductory shots, it is clear that this is not a B-movie. David Slade can shake hands with Zack Snyder. He is a master of spookiness and proves that even something as hackneyed as vampires can serve as material for an impressive horror movie. Too bad the film delivers some time-worn genre scenes, which we recently enjoyed – after a very long time – in Snyder’s Dawn of the Dead (the turned girl and the identical scene with having to kill an infected buddy). It’s also a pity that the vampires from the main group didn’t get more space as individuals (as Guillermo del Toro would have given them). Otherwise, it’s amazing. (26.11.2007)

David Slade high-fives Sam Raimi, takes a compelling comic book premise, makes us forget about his tragic first film, and serves up arguably the most impressive "A" horror hit of the season. After the ridiculous attempts over the last few years, when vampires were put into latex, etc., predators finally appear on the screen, finally giving us sheer terror. The work with the initial tension and the subsequent massacre is a perfect example of how to effectively build up not only the scene but the film as a whole. The two-hour runtime perhaps deserved more careful script treatment (the occasional lapse in logic or plot deafness), but the unpleasant chills make up for it. Josh Hartnett has finally become a man, the citizens of the backwoods throw out a sharp catchphrase here and there, and the ride with the milling machine is now part of the golden fund. And although horror history won't be radically rewritten via this film, a good few lines of it are sure to be memorable. If only for the fact that most of the people sitting in the movie theater only started eating their popcorn as they were leaving. (07.11.2007)

I liked Hard Candy, but 30 Days of Night almost took my breath away. Why almost? Because the ending was not very believable and the last scene doesn’t fit the film at all. But I have no complaints about the first half: perfect atmosphere, terrifying vampires, effective jump-scares, sharp axe… One of the best horror films of the year and a well deserved 85%. (24.12.2007)

It was the tenth of January, just about the time most folks are learning to live comfortably with all the New Year's resolutions they broke, and there was one hell of a northeaster blowing outside. Six inches had come down before dark and it had been going hard and heavy since then... Thus begins King's phenomenal vampire story One for the Road. And why am I quoting it? Because it fully captures the atmosphere that abounds in Thirty Days of Night. In the first few shots. Slade made it quite raw and atmospheric. Moreover, the Saw-like cheapness in terms of the violence depicted is simple and all the more impressive because of it. It looks good and the whole introduction until the city is taken over (the bird's eye view scenes - you will understand when you see it) is absolutely perfect. But after that, the creators are no longer able to resist the shortcomings that stem from the mediocre comic book source, which managed to attract attention perhaps only because of its unconventional imagery. These are mainly plot faux-pas: excessive abbreviation, inconsistency of fragmented narration, and utter ignorance of the psychological impact of the situation on individual characters. The closer the movie draws to the end, the lower down the ladder the quality becomes. The only thing keeping it within the bounds of a decent film, are Josh Harnett and Slade's efforts to embellish it with some juicy scenes here and there. Overall, it is undoubtedly a solid achievement, which benefits quite a bit from the fact that we haven’t seen anything this in a long time. As much as Thirty looks alright, and is enjoyable in its own way, it cannot escape the stigma of simplicity and the dull mediocrity of the comic book despite all its efforts... (01.11.2007)