Movie Review Poor Things

Poor Things (2023)

Directed by Yorgos Lanthimos

Written by Tony McNamara

Starring Emma Stone, Mark Ruffalo, Willem Dafoe, Rami Youssef 

Release Date December 8th, 2023 

Published November 28th, 2023 

Poor Things is a desperately odd experience. The film stars Emma Stone as Bella Baxter, a woman who died and was brought back to life through highly questionable science, by a mad scientist named Godwin 'God' Baxter. Having rescued Bella following her attempted suicide, Godwin Baxter has made her his daughter and is teaching her how to live again. Bella appears to have the mental age of a toddler as Godwin introduces her to one of his medical students and his newest assistant, Max McCandles (Ramy Youssef). 

It will be Max's job to chart the course of Bella's progress in learning to live again. In the process, Max will fall in love with Bella and invite her to be his bride. But, before the marriage can occur, Bella wants to see the world. She gets the chance to do just that when she meets a lawyer named Duncan Wedderburn, a caddish man who sweeps Bella off her feet and takes her around the world. He introduces her to sex, and she takes to the act with gusto and glee. 

The trip has the effect of expanding Bella's interest in expanding her mind. She becomes an avid and eager reader and even takes to philosophy. This proves to be the downfall of Duncan who can't keep up with Bella's insatiable hungers for learning and for sex. While on a cruise, Bella makes new friends in Miss Prim (Vicki Pepperdine) and Harry Astley (Jerrod Carmichael), each of whom encourage Bella to keep studying and improving herself. Astley is the impetus for Bella to give away all of Duncan's money to the poor leading to the next chapter in her life, moving to Paris. 

In Paris, Bella abandons Duncan and finds work in a Paris brothel. It sounds sexier than it truly is. Yorgos Lanthimos seems to be going out of his way to remove the mystery and excitement from sex. Bella still appreciates sex as an activity but sex with gross, smelly, ungainly men does become somewhat meaningless and mechanical for her. She eventually tries spicing things up by getting the men she sleeps with for money to open up a little and even bathe before coming to see her. 

Click here for my review at Geeks.Media

Movie Review Asteroid City

Asteroid City (2023) 

Directed by Wes Anderson 

Written by Wes Anderson 

Starring Jason Schwartzman, Edward Norton, Scarlett Johansson, Tom Hanks, Steve Carell, Tilda Swinton, Willem Dafoe, Jeffrey Wright

Release Date June 23rd, 2023 

Published June 23rd, 2023 

I adore the work of writer-director Wes Anderson. As a film critic with more than 20 years of experience writing about movies, Anderson's work has an unusual appeal for me. I see so many movies that look the same, go for the same goals, demonstrate the same filmmaking technique, and though they can be quite good or not good, the sameness of most of what I see becomes monotonous. Then, along comes a Wes Anderson movie like an alien from another planet. Instead of striving to place his characters in a place we can recognize and identify with them in a typical fashion, Anderson's style creates a surreal reality all its own. 

In his first feature film, Bottle Rocket, the characters were colorful and odd amid a realistic landscape. Since then, The Royal Tenenbaums began a turn for Anderson that led to more and more of a surrealist perspective. Anderson is a fan of artifice, and he brings artifice forward in his cinematography and production design. In his newest, remarkably ingenious work, called Asteroid, the surrealist production design is intended to logically marry the stage and film. It's as if Wes Anderson wanted to adapt a play into a movie but wanted to bring both the play and the movie forward at once. It's an exceptionally silly, funny, brilliant move. 

Trying to describe the plot of Asteroid City is rather pointless. Wes Anderson isn't so much interested in his plot. Rather, it's a Wes Anderson style of comedy, a series of odd, awkward, and often various funny scenes that may or may not be moving forward a plot. On the surface, we are following photographer and family man, Augie Steenbeck (Jason Schwartzman), as he takes his kids across the country and their car breaks down in the oddball small town of Asteroid City. Luckily, they were on their way here anyway as Augie's oldest son, Woodrow (Jake Ryan), is to compete for a science scholarship. 

Asteroid City is the real star of Asteroid City. At the center of the town, which is made up of, perhaps four locations, is a giant crater where an asteroid landed in 3200 B.C. The town grew up around the asteroid as scientists and military men seek to understand the asteroid. Tilda Swinton is the top scientist and Jeffrey Wright is the military man. Things get crazy when an alien comes to Earth and takes the asteroid. The arrival of an alien causes the town, and all of its visitors, including Augie and his four kids, celebrity actress, Midge Campbell (Scarlett Johannson) and her genius daughter, Dina (Grace Edwards). 

Augie begins a tentative flirtation with Midge, their tiny cabins are right next door to each other, and Woodrow starts a budding relationship with Dinah as they work with their fellow genius kids, played by Sophia Lillis and Ethan Josh Lee to study the alien while also making sure the rest of the world knows that the alien exists, much to the chagrin of the military and their parents. The genius kids also work with Tilda Swinton's scientist to try and determine where the alien went and whether or not the alien is dangerous or not. 

Find my full length review at Geeks.Media 

Movie Review Body of Evidence

Body of Evidence (1993) 

Directed by Uli Edel 

Written by Brad Mirman 

Starring Madonna, Willem Dafoe, Ann Archer, Joe Mantegna 

Release Date January 15th, 1993

Published January 16th, 1993

Body of Evidence is a movie so lurid and sleazy it has a scent. I imagined while watching this 'erotic' thriller that Body of Evidence carried the scent of unwashed bedsheets, body odor, and bad cologne. And maybe a hint of Scotch. Body of Evidence would make a make a poor advertisement for Smell-O-Vision, that's for sure. Watching Madonna and Willem Dafoe in various states of extraordinary nakedness, at the height of their beauty and uniqueness respectively, may not seem so bad until you watch the way director Uli Edel captures this image and makes you feel guilty for even considering enjoying it. 

That Body of Evidence was released to the popcorn munching masses in 1993 is indicative of where we were as a society. In 1993 it was somehow acceptable for filmmakers, almost exclusively male, to spend millions of dollars bringing their very specific masturbatory fantasies to the big screen. Today, we somehow have come around on the idea of good taste. At the very least, we now discourage men from having hard-ons in public places. But first, we had to hit bottom and the 90s was certainly a bottom. With Basic Instinct and Body of Evidence, the 90s were a horny, sweaty, free for all that's not nearly as much fun as it sounds. 

Now, before anyone assumes I am some kind of scold or prude or whatever, I assure you that's not the case. I'm sex positive. I think sex can be a natural, zesty enterprise. My point is not to shame anyone, be confident in what you enjoy as long as you aren't hurting anyone. My point is only that there is a place for horniness and it is not a mainstream movie theater. Pornography is just fine with me, but it belongs in private. I don't think society is asking too much by asking that we don't look at pornography in public. 

And make no mistake, Body of Evidence is and was pornography. Willem Dafoe has stated that the sexual activity in the film is real. Specifically, a scene of oral sex on top of a parked vehicle in a parking garage simply could not be faked for the camera. And that's fine, if you are watching at home, alone or with a willing partner. In public, it's weird and creepy. I told my co-host M.J, from the podcast that inspired this review, the all new Everyone's a Critic 1993 podcast, that this film was released in theaters, and they were floored. M.J is 18 years old. 

Ostensibly, Body of Evidence is the story of a woman named Rebecca who is arrested for murder. Willem Dafoe is her crusading lawyer, Frank. Together they fight to prove Rebecca's innocence and in the process they fall in love. It's a truly inspiring story overcoming the odds, finding a true partner, and allowing love to win the day. Okay, yeah, no, Body of Evidence is actually just a porno movie that is occasionally interrupted by the dumbest episode of Law & Order. 

Rebecca is accused of sexing her boyfriend to death. The prosecuting attorney, Robert (Joe Mantegna) actually says in court "She is a beautiful woman. But when this trial is over, you will see her no differently than a gun, or a knife, or any other instrument used as a weapon." The man Rebecca was sexing at the time was in his 60s and suffered from a heart problem. He'd also just changed his will to leave everything to Rebecca. There is also the fact that his nasal spray was spiked with cocaine. That might also have caused a problem. 

Despite this being a courtroom drama, no one seems to know how a court case works. There is a lot shouting objection and lots of shaming Rebecca for enjoying having sex. And that's pretty much it. The prosecutor tries to make the case that she tried to sex other men to an early grave but what the movie fails to understand is that having consensual sex is not illegal and having a heart problem while having very athletic sex, is still not murder. The courtroom nonsense relies greatly on the idea that men aren't capable of saying no to sex therefore she killed them with sex. You know what no one does? Dust for fingerprints on the nasal spray bottle to see who other than the dead man might have touched it. But there I go bringing logic to where it is certainly not welcome. 

Click here for my full length review at Filthy.Media.

Movie Review: Aquaman

Aquaman (2018) 

Directed by James Wan 

Written by David Leslie Johnson, Will Beal

Starring Jason Mamoa, Patrick Wilson, Amber Heard, Willem Dafoe, Dolph Lundgren, Yahya Abdul Mateen, Nicole Kidman

Release Date December 21st, 2018 

Published December 20th, 2018 

Aquaman stars Jason Mamoa as Arthur Curry, the one true King of Atlantis, though he doesn’t see it that way. Having been born to Queen Atlanna of Atlantis and a lighthouse keeper named Thomas (Temeura Morrison), Arthur doesn’t feel fully at home on either land or at sea. Despite having grown up under the tutelage of Vulko Willem Dafoe), his mother’s top advisor, and trained for royal combat, Arthur’s human side keeps him from embracing his Atlantean heritage. 

Arthur, known to many as Aquaman following the events of Justice League, will soon have to make a decision about Atlantis, whether to become its King or unwilling subject. Arthur’s brother, Ohrm (Patrick Wilson) has risen to the throne in the absence of Atlanna and he has plans to bring destruction to land-dwellers for the pollution and violence that human beings have brought to the oceans around Atlantis. 

To do this however, Ohrm must convince the seven kingdoms of the sea to get behind him as the Ocean Master, and allow him to take their armies into battle. All that stands in his way is Arthur who is guided by Mera (Amber Heard), the object of Ohrm’s affections and the daughter of one of the kings of the sea, King Nereus (Dolph Lundgren). Mera wants to prevent a war and believes that Arthur ascending to the throne is the only way to prevent it. 

It is Mera who drives the plot, convincing Arthur to seek the legendary Trident of Atlan, the weapon belonging to the very first King of Atlantis. The journey takes them from the deserts of the Sahara to the oceans around Sicily and eventually to the very center of the Earth where deadly combat awaits around every corner. All the while, Ohrm is raising an army and plotting to destroy all life on land unless Aquaman can stop him. 

Writing all of that out comes off even goofier than watching it unfold did. That said, it’s a good kind of goofy. Aquaman is a completely unpretentious comic book adventure that is both comic book nerdy and action movie macho. The film threads the needle of being just geeky enough and just enough of a macho action flick to satisfy audiences of both kinds. Jason Mamoa is the key to that tone. He’s a clever actor who gets the role he’s playing and does well to under-play the silliness to make room for his muscles. 

Director James Wan, though best known for the gruesome Saw franchise and the spooky The Conjuring universe, is proving to be a director who can do just about anything. It helps that he transitioned from horror movies to The Fast and the Furious franchise to Aquaman. Aquaman takes the self-seriousness of Wan’s horror work and combines it with the whacked out nonsense of the Furious franchise to create something that is incredibly silly but seriously well made. 

It’s a tricky tone that Aquaman has to pull off in order to not be laughed off the screen and James Wan nails it. Aquaman is silly in the way the Fast and Furious franchise is but it has the competence and chops of Wan's lower budget horror work. It’s a rather masterful piece of direction which manages to make great use of monstrous CGI without losing sight of the compelling characters at the heart of the story. 

Aquaman is not anything to be taken seriously but Wan is not careless, he takes pains to create a believable, dramatic world for Aquaman to exist within. This lends a context of believability to Aquaman, I believe in the universe that Aquaman exists in. It has a lived-in quality even as it is at times slick and stylized to an almost ludicrous degree. Mamoa’s earthy approach to Arthur, that includes some genuine vulnerability and humor, keeps Aquaman, the character and the movie, human and sympathetic. 

Mamoa isn’t going to win an Oscar anytime soon but he’s shown remarkable growth from Justice League to here with Aquaman. The all swaggering macho nonsense of Justice League is here shattered in favor of a lovable lug persona who happens to have super-strength, speed, agility and will. I was concerned that Mamoa would be the weakest part of Aquaman, given his lackluster and limited filmic track record but he’s far better than what I imagined.  

For Mamoa and for James Wan’s remarkable direction that manages to keep this unwieldy, untidy monstrosity in a human and relatable place, I feel comfortable recommending Aquaman to anyone who has been curious about this character. If you liked Jason Mamoa from Game of Thrones or Justice League, you will very much enjoy him in Aquaman where he delivers a superstar performance filled with good humor, charisma and machismo. 

Movie Review: American Dreamz

American Dreamz (2006) 

Directed by Paul Weitz

Written by Paul Weitz 

Starring Hugh Grant, Dennis Quaid, Marcia Gay Harden, Mandy Moore, Willem Dafoe, Chris Klein

Release Date April 21st, 2006

Published April 20th, 2006 

When I heard that the very talented writer-director of American Pie and About A Boy, Paul Weitz, had decided to take on an ambitious satire of President George W. Bush and the vapid karaoke extravaganza American Idol, I was quite excited. Two such broad targets are, no doubt, hard to miss with hard edged satire. So how disappointed was I when, while finally watching American Dreamz, that Weitz manages to miss the target like a Buffalo Bills kicker in the Super Bowl.

Hugh Grant stars in American Dreamz as Martin Tweed a Simon Cowell clone with a nasty disposition on screen and off. A self loathing jerk, we meet Martin as he dumps his girlfriend while celebrating his shows latest spectacular ratings.

The new season of 'American Dreamz' is about to begin and a new crop of contestants are lining up. In the tiny hamlet of of Padookie, Ohio Sally Kendoo (Mandy Moore) is ready for her closeup. An ambitious, plotting, self absorbed teen, Sally celebrates her American Dreamz birth by dumping her dopey but loving boyfriend William (Chris Klein). So broken up about it William runs off to the army and is immediately sent to Iraq.

On the other side of the world Omer (Sam Galzari) is training in an Al Quaeda terrorist camp. However, he spends his evenings singing along to show tunes. He is soon sent to America to live with relatives and finds himself auditioning for American Dreamz, the producers, Tweed and flunkies played by Judi Greer and John Cho, have decided the key to ratings is diversity. They want an arab guy and they choose Omer opposite him they want a jewish guy and they get a hasidic rapper played by Adam Busch.

Running parallel to the American Dreamz story is that of President Jack Staton (Dennis Quaid). Having just narrowly won re-election, President Staton wakes up one morning and decides to read the newspaper instead of his daily briefing. He then proceeds to not leave the presidential bedroom for three solid weeks, choosing to stay in bed reading the newspaper.

To get the president back on his feet his chief of staff (Willem Dafoe in a Dick Chaney haircut) gets the president an appearance as a guest judge on American Dreamz. This places the small town witch, the Arab dreamer and the dimwit president on a collision course, unfortunately the only collision is with indifference.

American Dreamz walks up to the edge of hard satire and then runs away like a scared child. The film does not have a mean bone in it's body despite attempts to look mean. Grant's Simon Cowell may be a self loathing prick but Grant cannot turn off that natural charisma that makes even a bastard like Martin Tweed charming. He's supposed to be a Machiavellian bastard but the edges are worn off and his manipulations never take away from his likability.

Mandy Moore is supposed to be Martin's equal in terms of self involvement and angry ambition but she too cannot turn off the charms that have made her a star. Moore evinces hateful bitchiness, but in an ill-conceived romantic subplot with Grant, she turns cuddly in a dark comic way and you can't help rooting. a little, for an unearned happy ending.

The characters in American Dreamz break down into two categories, either mean or or dopey. Grant, Moore and Dafoe fall into the mean category while Golzari, Klein and Quaid are in the dopey category. In a satire with sharp edges, with a clearer perspective and point of view, this might not be such a bad thing. But in an unfocused mess like American Dreamz you are left to wonder just what are you supposed to enjoy about these characters.

Weitz aspires at once to the hard edges of Kubrick's trenchant Doctor Strangelove and Christopher Guest's gentle prodding Waiting For Guffman and Best In Show. The mix is weak kneed when it needs to be edgy, as in the too soft take on the President, and to edgy when it needs to be soft as in the American Idol satire.

The saddest thing about American Dreamz is that Weitz's approach could have worked. If he had approached the Presidential satire like Kubrick did Strangelove and the American Idol stuff like Guest took on folkies in A Mighty Wind, then American Dreamz might have mixed these two disparate subjects in a satifying way.

Instead what we have is a complete disaster of weak willed satire, dopey hateful characters and rare moments of laughter. American Dreamz is one of the most disappointing films I've seen in a very long while. The very talented Paul Weitz has many more good films in his future, let's hope he puts this one behind him quickly.

Movie Review: Auto Focus

Auto Focus (2002) 

Directed by Paul Schrader

Written by Michael Gerbosi 

Starring Greg Kinnear, Willem Dafoe, Rita Wilson, Maria Bello

Release Date October 18th, 2002 

Published October 19th, 2002 

As this website's self-proclaimed Oscar expert, I had proclaimed the Oscar race on when Red Dragon was released. However with that film's mixed critical response and quickly slowing box office, it's award chances evaporated quickly. Now, after seeing Greg Kinnear and Willem Dafoe's stunning performances in Auto Focus, I can once again start talking about Oscar.

Directed by Martin Scorsese's guy Paul Schrader, Auto Focus tells the story of the rise and fall of Bob Crane. For the unfamiliar, Crane was the star of the 60's sitcom "Hogan's Heroes." Crane got his start in radio hosting the number 1 morning show in LA when he was offered "Hogan's Heroes." He almost turned the role of Colonel Hogan down because of the show's controversial setting. However. after his wife Anne (Rita Wilson) read the script and told him she thought it was funny he took the role.

"Hogan's Heroes" was an immediate success, both a blessing and a curse for Bob and his family. Success means more money and security but it also means long days and less time for the family. It was during his run as Hogan that Bob Crane met the man who would change the course of his life. John Carpenter (not to be confused with the director of the same name), an engineer with the Sony corporation. One day as he was on set installing high end audio equipment in the trailer of Crane's co-star Richard Dawson, Crane and Carpenter struck up a conversation about their mutual love of photography and a new technology that Carpenter was peddling called the personal video camera. 

Spending time with Carpenter visiting strip clubs, where he actually preferred playing drums with the house band to watching the girls strip, Crane first began to stray from his seemingly normal life. At Carpenter's urging, Crane began using his celebrity to pick up women for the two of them, luring them to Carpenter's apartment where he videotaped them having sex, a practice that became a pattern and then an obsession.

The strange pseudo-friendship of Carpenter and Crane is the seed of the film, it's drama comes from the weird uncomfortable interaction between these two odd, lonely men. I say pseudo-friendship, because Carpenter as portrayed in the film isn't so much Crane's friend as he is a hanger on, a yes man. It was Carpenter who helped Crane to justify his self destructive behavior. Not that Carpenter was to blame for Crane destroying his two marriages or his twisted obsession's with videotaping his sexual exploits, rather, Carpenter was the devil on Crane's shoulder whispering in his ear telling him he was normal and healthy and there was nothing wrong with what they were doing. Carpenter was the classic enabler.

Greg Kinnear has certainly left "Talk Soup" in the rearview mirror and Auto Focus is very likely to bring him his second Oscar nomination, the first was for his supporting turn As Good As It Gets. Willem Dafoe as Carpenter is also likely to have a shot at Oscar gold. So far this year I have yet to have seen a more effective supporting performance.

Bob Crane Jr. consulted on Auto Focus, helping Director Paul Schrader and Kinnear understand his father's mannerisms and consulting with screenwriter Michael Gerbosi on events in his Dad's life. One thing Bob Crane Jr, or anyone for that matter, couldn't consult on was who killed his father. Though all available evidence points to Carpenter, who died in 1999, the police in Scottsdale, Arizona (where Crane was killed while sleeping in his hotel after a dinner theater performance) botched the case so badly that by the time Carpenter was finally investigated in 1997, evidence had been lost and prosecutors were forced to drop the case against him.

Bob Crane was one of those guys who had it all, charisma, wit, and looks. Unfortunately he lacked a moral center and his addiction to sex overcame him and likely lead to his death. Whether or not it was Carpenter who killed him remains an open question, the film does seem to posit the theory that he was the killer, though there is conjecture about the husband of one Crane's many conquests taking revenge on him. Whatever happened I guess it's fitting that the man's death should be as enigmatic as the man himself.

Movie Review Once Upon a Time in Mexico

Once Upon a Time in Mexico (2003) 

Directed by Robert Rodriguez 

Written by Robert Rodriguez 

Starring Antonio Banderas, Johnny Depp, Salma Hayek, Mickey Rourke, Eva Mendes, Willem Dafoe

Release Date September 12th, 2003

Published September 11th, 2003 

The Auteur Theory states that the director is the author of a film. The auteur is a director whose sole artistic vision is fully realized with little compromise. Many of our most prominent directors can fit the definition of an auteur, but few can live up to the definition as much as Robert Rodriguez can. In his latest film, Once Upon A Time In Mexico, Rodriguez is credited as writer, director, producer, cinematographer, editor, production designer, and composer of the film's score. He did everything but key lights and hold the boom mic. If that is not realizing a singular vision, I don't know what is. And that singular vision is a spectacular shoot'em up that may be light on story but makes up for it with style.

Antonio Banderas returns to the role of the nameless mariachi player from El Mariachi and Desperado who dispenses justice and tunes from a killer guitar case. Having gone into hiding after the death of his wife (Salma Hayek in flashback) and child, the mariachi is brought out of retirement to kill the man who killed his family, General Marquez (Gerardo Vigil).

The mysterious man who brought the mariachi out of retirement is a shady American CIA agent named Sands (Johnny Depp). Agent Sands is carrying out a thin-ice tap dance that is playing a number of Mexican factions against each other, with Sands ending up 10 million dollars richer. He has hired the Mariachi to kill General Marquez and the General to kill the unpopular Mexican President. Sands has a major drug dealer named Barillo (Willem Dafoe) to finance the General and an ex-FBI agent (Ruben Blades) to kill the drug dealer.

Confusing? Maybe, but it doesn't matter because Johnny Depp is so damn cool. Whether the plot makes any sense or if the scheme works or doesn't work, makes little difference to Robert Rodriguez or the audience because it's all about Depp. Like a plot magician Depp does parlor tricks that make your plot reservations disappear. Whether it's Rodriguez's quick witted script or Depp's stylish delivery it all works and it's all so cool.

For his part as the lead, Banderas slips comfortably back into his Mariachi costume. It's one of the rare roles in which Banderas seems comfortable. Maybe it's because it's his third go around in the role or maybe it's his friendly director, but Banderas realizes the potential stardom that so many have expected of him, but only in this role. Any other role and Banderas appears lost.

This film's place in the El Mariachi/Desperado, line is unclear to me; it's been too long since I've seen those two films. Luckily, there is no need to remember the first two films beyond the vaguest details. Flashbacks with Salma Hayek as the Mariachi's wife are effective in providing backstory and are as stylish and cool as the scenes that surround them.

One of the things that makes Rodriguez's multi-hyphenate performance possible is the way in which he takes advantage of the most modern film technology. Using a top-of-the-line Sony digital camera, Rodriguez becomes the first filmmaker that I have seen use digital in a way that transfers to regular film stock without looking awful. His shooting style is just as impressive, entirely handheld without looking handheld. This makes Once Upon A Time In Mexico, an important moment in digital and independent filmmaking. See it for Johnny Depp. Respect it for the true independent spirit at work in its creation.

Movie Review: Daybreakers

Daybreakers (2010) 

Directed by The Spierig Brothers 

Written by The Spierig Brothers 

Starring Ethan Hawke, Willem Dafoe, Sam Neill, Isabel Lucas, Claudia Karvan

Release Date January 8th, 2010 

Published January 7th, 2010 

It's such a disappointment. The first 70 minutes or so of Daybreakers is a quite compelling Vampire thriller. The last 20 minutes, give or take a few, are such a massive wrong turn that they make me wretch at the thought. I was set to recommend Daybreakers but the ending is such a poor decision, such a disastrous wrong turn that Daybreakers becomes an early worst of the year candidate.

Ethan Hawke stars in Daybreakers as Vampire Hematologist Edward Dalton. Edward lives in a future, 2017, in which vampires are the majority and humans are hunted and farmed for blood. Unfortunately, the demand for blood is soon to exceed the supply. It is Edward's job, at the behest of his demanding boss (Sam Neill), too invent a viable blood substitute.

Elvis (Willem Dafoe) has a better idea, he has a cure. Through some remarkable accident Elvis has regained his humanity and he thinks that with Edward's help he can figure out exactly what cured him and begin to return the human race to dominance. Elvis and his partner Audrey (Claudia Karvan) kidnap Edward and he is more than willing to help. Unfortunately, he is being tracked by his brother Frankie (Michael Dorman) a member of the military human hunters.

As Edward seeks the cure and his brother and boss come together to plot against him there is an effective thriller with strong stakes and strong characters. Approaching the finale the film has great momentum all it needs is a satisfying end to cap the whole thing and make a pretty terrific genre thriller.

Sadly, all that co-directors Michael and Peter Spierig come up with is a gore-laden, special effects finale that undermines Daybreakers' thriller tension in favor of splatter movie ugliness. I don't mind gore, early on in Daybreakers a minor character explodes and the scene is quite effective. The ending unfortunately takes the gore too far, using it as a means to finish the movie as if they just couldn't think of anything else.

The bloody finale is a trapdoor, an easy escape for filmmakers without the imagination or talent to come up with something better. What a shame, there is a pretty solid thriller under all of the viscera in Daybreakers.