it's rare that i'd fault a film for insufficient pilfering, but 30 Days Of Night is the exception: regardless of Slade's own considerable talents and instincts, i spent a good deal of the film wishing he'd spent his downtime screening and re-screening The Thing and Assault On Precinct 13, notepad by his side. it's obvious, handsome and moody though the film is, that Carpenter's knack for sustained, intimate tension would be a great help, but Slade takes it at his own muddled pace, so we never get a definitive feel for the geography or timeframe, and that hobbles an otherwise frightening film. still, there's little to grumble at technically; an extended bird's eye tracking shot of the town under vampire seige is surely one of the most striking setpieces in recent horror.
Thursday, March 06, 2008
david slade's 30 DAYS OF NIGHT (2007)
it's rare that i'd fault a film for insufficient pilfering, but 30 Days Of Night is the exception: regardless of Slade's own considerable talents and instincts, i spent a good deal of the film wishing he'd spent his downtime screening and re-screening The Thing and Assault On Precinct 13, notepad by his side. it's obvious, handsome and moody though the film is, that Carpenter's knack for sustained, intimate tension would be a great help, but Slade takes it at his own muddled pace, so we never get a definitive feel for the geography or timeframe, and that hobbles an otherwise frightening film. still, there's little to grumble at technically; an extended bird's eye tracking shot of the town under vampire seige is surely one of the most striking setpieces in recent horror.
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