Get ready for a lot of blood.
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A strange, unique vampire film you won't soon forget! Not if Radu has anything to say about it.
A young man stuck in a bad neighbourhood gets lost in a fantasy of vampirism, leading to unexpected consequences.
One of the greatest debuts of all-time, one of the greatest vampire flicks of all-time.
Vampires and love on the run.
When vampires have taken over the world, feeding off humans, one vampire abstains & hopes for a way out; a way back to humanity.
Peau Blanche a.k.a White Skin. 2004. Directed by Daniel Roby. Screenplay by Daniel Roby; based on the novel by Joël Champetier.
Starring Marc Paquet, Marianne Farley, Frédéric Pierre, Jessica Harris, Julie LeBreton, Lise Roy, Joujou Turenne, Raymond Cloutier, Marcel Sabourin, and Jude-Antoine Jarda.
Rated 14A. 89 minutes.
I’ve been a longtime user of the Internet Movie Database, though not a fan of the message boards; mostly I dig trying to level out the ratings even in the slightest sense as one man, as well as doing shorter reviews for a few choice films here and there. As someone who’s seen 4,100 films and counting, I find it hard to just ask people “Hey can you suggest a movie for me?” because honestly – not trying to be grand here like a know-it-all, not trying to impress – but after that many movies it is damn near impossible for most people I know, who aren’t film buffs, to come up with something I’ve not seen. So, I end up turning to a lot of lists; other than a good friend of mine, a filmmaker by the name of Ben Noah, not many people in my circle(s) of friends are actually huge into movie watching.
Many lists, horror and otherwise darkly toned, end up suggesting La peau blanche (English title – which I’ll use from here on out: White Skin). The cover art alone always stuck with me, very literal with the white skin yet intriguing nonetheless. The guy on the front is white but a little less so, his eyes extremely blue. All contrast against the woman, her gingery near blonde hair flowing, then her face and neck almost disappearing into one as a wave of white skin, reddish lips around the middle. I’m often reeled in by interesting artwork for movies, some times this doesn’t work at all. But there’s something about a cool looking poster that can get me interested immediately. Not only that, when I hear words like cannibalism, vampire, succubus – these sorts of things – I tend to perk up even more. Add to all this the fact White Skin is a Canadian film, you’ve got yourself an interesting bit of work.
Thierry (Marc Paquet) and Henri (Frédéric Pierre) end up in a hotel with a couple hookers one night. During their encounter, one of the women attacks Henri, leaving his neck bloody and wounded. While Henri’s family is out for justice, neither he nor Thierry obviously wants to pursue things any further due to the fact of what they’d actually been up to.
A little while later, Thierry ends up seeing a woman in the subway playing the flute. Strangely enough he finds himself attracted to her, even though he earlier admitted to one of the prostitutes that redheads make him sick, all due to their incredibly white skin; he says seeing the veins under the skin turns him off. Yet somehow this woman, Claire Lefrançois (Marianne Farley), turns out to lure him. One night he sneaks in to watch her play piano at a recital. Further and further he’s drawn to Claire, until they start to see one another regularly. Despite the fact she insists they ought not see each other any longer. Thierry falls harder by the minute, almost to the point of physical deterioration. Mentally he begins to slip, from school to everyday life. He discovers Claire has cancer. Of course he stays right by her side.
But once there are even wilder, more dramatic revelations, Thierry discovers an entirely different world existing right below the one he used to know.
“We could discuss what’s eating you”
The U.S. title for this movie is awfully on-the-nose. Too much. Part of the enjoyment here is the slow build. You know there’s something not quite right. Very clearly once Claire starts telling Thierry he should forget her, it’s apparent. But getting there, the journey is what’s important. Cheesy, and true. Not only is there an excellent plot development happening over the course of the film, the weird love story itself is pretty good. I’ve seen complaints in reviews online that this was an area where the screenplay lacked. Now I’ve never read the original novel this is based on, so perhaps that’s got something to do with it in comparison. However, I find the movie has a few amazing scenes where the love story comes out. You might say the entire thing is a love story. It’s more of a mystery, filled with drama and horror. Definitely a dark fantasy sort of feel at times, like a modern day fairy tale. So to each their own. White Skin definitely has an interesting story at its core, as well as it surprised me at times when I had no idea where things were headed.
Even more than all that, the relationships are solid. Particularly I loved Thierry and his friend Henri. They have such a complex dynamic, not usual in a lot of films; something Canadian movies are always doing, the unusual in such a perfect way. There are numerous tense moments between Thierry and Henri, though, they feel like actual friends, as opposed to two characters written into a forced relationship. There are both sides of the coin – good times, bad times. So I think in a short time this friendship comes across well, the actors and the screenplay together make for proper character development between the two.
When all the horror aspects come flooding out, the movie gets fairly tense. Consistently I was never sure what might happen next. And man – did the ending ever catch me by surprise! It’s an odd finish to the film, yet at the same time it was fitting. Completely. It’s as if everything tangles into a big mix near the middle, then the last 15-20 minutes becomes pretty wild in moments, as well as some blood/gore sneaks in. All in all, I found the good relationships + the entire screenplay built up excellent tension. Afterwards, all the mysterious horror which breaks through only serves to be the cherry on top, so to speak. In the end, that big jumble of themes and character/plot development unravels into a nice finale.
I’m giving this a 4 out of 5 star rating. White Skin is a film all Canadians should see, simply to support homegrown cinema. Furthermore, it does a great job with all the elements from drama to mystery to horror. The movie is low budget compared to Hollywood, clocking in with one million dollars. At the same time, I don’t feel there are many instances where the budget shows in a bad sense. Most of the film is shot wonderfully, the actors are pretty much all competent at the very least, so anyone who says this is “too low budget” is only being foolish. Check this one out if you’re into semi-cannibalistic/vampiric stories, dark fantasy, or even if you just love a nice little mystery. Give it a chance. I was very happy with the DVD purchase – rare film, so I found it on eBay. Soon I’ll do a good DVD review, as there are a few quality special features included.
30 Days of Night. 2007. Directed by David Slade. Screenplay by Stuart Beattie/Brian Nelson/Steve Niles; based on the comic by Steve Niles & Ben Templesmith.
Starring Josh Hartnett, Melissa George, Danny Huston, Ben Foster, Mark Boone Junior, Mark Rendall, Amber Sainsbury, Manu Bennett, Megan Franich, Joel Tobeck, Elizabeth Hawthorne, Nathaniel Lees, and Peter Feeney. Columbia Pictures.
Rated 18A. 113 minutes.
To start, while I don’t like that director David Slade did one of those junk Twilight movies, I’m a big fan of his work on Hard Candy, the episode “Open House” in the 4th season of Breaking Bad, and most of all I love his directorial efforts in the 5 episodes of Hannibal he directed (“Mizumono”, “Ko No Mono”, “Savoureux“, “Potage“, & “Apéritif“); he’s also produced nearly 30 episodes of the show, as well. One of the reasons I think he actually ended up involved with Hannibal might be due to his work here in 30 Days of Night because of the level of blood and how it looks, the visuals. I don’t think this is a spectacular movie, though, one of the things I do enjoy most about it is the overall aesthetic – from the atmosphere and tone to the actual look of the blood and the effects.
I have mixed feelings about 30 Days of Night. On one hand, I think there’s some decent acting along with incredible visuals and plenty of good ole blood and gore. But on the other, I do feel as if the script is pretty flawed in a few places where it ought to be much stronger.
Right off the bat, even though the tone of the movie is awesome and that aspect often takes time to build, I feel as if 30 Days of Night is a tad too long. I mean, I’m a person who loves both atmosphere and character development in horror. Really helps a movie sort of grab hold and not let go if you can fall into it those ways. Yet there’s a point where things go on too long. I think there could’ve been 15-20 minutes cut from and it wouldn’t have damaged the film, but that’s only my opinion; I’m not a director, I’m not a screenwriter. I just think that, while the concept of this movie is awesome, it isn’t particularly tough to grasp. There’s no need for this pushing two hours. And I get it – 30 days – but that’s the funny thing, even in that amount of time I still felt like those 30 days had passed quickly, so I find it all very strange.
That being said, I do really love the story. Funny enough, the comic series started as a film pitch. Ended up as a comic then began a movie; weird how the system works, as soon as it’s viewed as a commodity in the comic world THEN the execs want to use it because it has a base already. Sad, funny, weird.
Unfortunately, I have a few problems. Right off the bat, Barrow can be flown to almost every day of the year – like anywhere else conditions can vary, but it’s not inaccessible and especially not for 30 days at a time. Then, it’s as if Barrow is completely lit up one day then the next day there is complete darkness, stretching on for a month. Totally unrealistic. It’s a slight process until the darkness has sort of spread over the entire town. But, y’know, I guess if we’re talking vampires there’s a slight suspension of disbelief going on in the first place. Still it’s hard to get past blatant and upfront errors like that when the whole plot pretty much hinges on some of these facts. While it originates from the comic, it might’ve been better had the adapted screenplay tried to fix some of these mistakes. I don’t know how that whole adaptation process works, so I’ve no clue how much liberty the screenwriter would’ve had in terms of crafting a slightly fresh story. Either way, I don’t like how parts of the story’s logic works against the film, I don’t care if it went that way in the comic series or not. They would’ve been better off coming up with a fictional Alaskan town instead of using Barrow and so obviously distorting factual stuff.
There are pieces of the film I do truly enjoy.
Love the music. Of course, it turns out Brian Reitzell – another Hannibal alumni – is the composer. Great score, honestly. Lots of strings and some brass, interesting percussion for which he seems to have a fondness.
As I mentioned earlier, I think part of why David Slade ended up on Hannibal himself as both director and producer is because of how he works visually. For all the crappy storytelling and logic in 30 Days of Night, Slade injects a ton of brutal and beautiful imagery. One of my favourite shots – and everyone’s I’m sure of it – is the aerial view as the vampires first really take hold of Barrow; it’s this amazing shot sort of floating above, all the creatures feeding, blood spurted everywhere in the snow. All that white against red, the music, everyone screaming and the vampires making hideous noises. The movie is overall nothing special to me, but I have to say that this particular shot is one of the best shots in a horror movie over the last decade. Too bad the entirety of the film couldn’t hold up to the aesthetic Slade tried to give it. Unfortunately for him, the story’s just not there.
Big thing I did enjoy are the vampires themselves. It’s strange how Slade went from vampires like this to those of the Twilight persuasion; a conversation for another time. Here, though, the vamps are how they ought to be: cruel, Other-ish, savage. I thought the way the production of the film came up with a language for the vampires was interesting because it worked, as well as the fact it sounded pretty damn eerie to hear them communicating. Very mysterious and cool. I liked this aspect of the movie a lot. Naturally, a vampire movie’s main aspect needs to be the vampires – regardless of anything else, the plot, the subplots, the story, it’s all secondary to the vampires. Honestly, if you don’t have good vampires it won’t work no matter how fresh a story ends up.
At the same time, no matter how god damn scary your vampires are, no amount of savagery from them can save the lack of proper story and logic which is so evident in 30 Days of Night.
I don’t care how visually incredible I find this film, I can’t in all good conscience give this movie more than 3 out of 5 stars. To be honest, I want to give it 2.5 instead but I won’t simply because I think there’s a great all around look and feel to 30 Days of Night. There is a good story in there, however, I just cannot bring myself to get past glaring errors. Straight away, the whole inclusion of Barrow is a terrible decision; from the comic to the film, bad idea. Extreme weather would keep flights out maybe a day, possibly two, but there’s no way in hell Barrow would find itself cut off for longer than that. Certainly not for 30 days. Anybody with Google can figure out – from proper sources – all the information they need about Barrow, or any other god damn place on the map for that matter.
Okay, you know what? This gets 2.5 out of 5 stars. There’s too much bullshit nonsense happening for me to ignore and while I love the vampires, plus all the bloody, gory intensity which comes along with them, I can’t ignore enough for that to make this worth it.
30 Days of Night is good enough for the vampires. Come and see them, enjoy their bloodletting. Don’t come and expect to get a story and plot that’s ultimately going to make you think something fresh and innovative happened here. While the idea is great, using Barrow to accomplish it, trying to root this in reality, fails because REALITY WILL NOT LET IT WORK. There was a time I didn’t think too much about the logistics of this movie, I turned my brain off I suppose. I let the movie whisk me away with its aesthetically pleasing blood on snowy landscapes and the dripping gory faces of its vampires.
Now, I see you for what you are, 30 Days of Night: a farce and a letdown. You’re no better a movie than half of the crap getting churned out. This movie works for me only in the way any other mindless, nonsensical movie does, like that type of action or comedy or whatever you don’t need a brain for – switch off, tune out, enjoy. Took me a while to figure this out. If you want David Slade’s best work, go watch some Hannibal, or the excellent Hard Candy.