30 Days of Night (2007) – Comprehensive Review

Overview

30 Days of Night (2007) is a grisly horror film directed by David Slade and based on the graphic novel by Steve Niles and Ben Templesmith. Set in the remote Alaskan town of Barrow, where the sun sets for an entire month each year, the film weaves a chilling narrative of isolation, survival, and the primal fear of the unknown. Known for its relentless tension and visceral violence, 30 Days of Night stands out as a modern, atmospheric vampire story that eschews the romanticized tropes of the genre in favor of raw brutality.

Plot Summary

The story unfolds in Barrow, Alaska, as the town’s inhabitants prepare for the annual period of darkness when the sun disappears below the horizon for thirty days. Just before the long night begins, mysterious acts of sabotage occur: cell phones are destroyed, sled dogs are slaughtered, and the local power is cut off. The townsfolk soon realize that these are not random acts of vandalism, but the calculated moves of a pack of vampires who have come to feast with no sunrise to fear.

Eben Oleson (Josh Hartnett), the town’s sheriff, and Stella Oleson (Melissa George), his estranged wife and a fire marshal, find themselves at the forefront of the crisis. Along with a small group of survivors, they must outthink and outrun the vampires, led by a ruthless and ancient leader known as Marlow (Danny Huston). As the body count rises and hope seems lost, the survivors resort to desperate measures, risking their own humanity to save what remains of their community.

Characters and Performances

• Eben Oleson (Josh Hartnett): Hartnett delivers a stoic and determined performance as the town’s sheriff, who must rise to the occasion as both protector and strategist. Eben’s quiet courage and willingness to sacrifice himself underscore the film’s themes of duty and humanity.
• Stella Oleson (Melissa George): George portrays Stella as resourceful and empathetic, a counterbalance to Eben’s more rigid demeanor. Her leadership qualities and resilience reflect the strength of the human spirit even under extreme duress.
• Marlow (Danny Huston): As the leader of the vampire clan, Huston’s portrayal is ferocious and otherworldly. He communicates through a harsh, ancient language and exudes a predatory aura that defines the predators as a primal force of nature rather than just mythic creatures.
• Supporting Cast: Actors like Ben Foster, Mark Boone Junior, and Manu Bennett contribute memorable performances as townsfolk and outsiders caught in the horrific ordeal. Their varying reactions to fear—ranging from panic to stoic acceptance—provide depth to the ensemble.

Themes and Direction

• Isolation and Survival: The film’s remote Arctic setting amplifies feelings of isolation and helplessness. With no escape and no sunrise, the survivors’ fight for life becomes a raw struggle against the elements and a relentless enemy.
• Loss of Humanity: As the siege continues, both the vampires and the humans face moral dilemmas. The vampires embody primal evil, while the humans must confront their capacity for violence, revealing that desperation can push anyone toward barbarity.
• Nature vs. Civilization: The town’s vulnerability to the long Arctic night represents the fragility of human civilization in the face of nature’s cruelty. The vampires are symbolic of nature’s merciless indifference, challenging the concept that modern communities are safe havens.

David Slade’s direction emphasizes gritty realism, using practical effects and minimal CGI to enhance the terror. His use of darkness, silence, and sudden bursts of violence creates a claustrophobic atmosphere that keeps audiences on edge from start to finish.

Visuals and Cinematography

Cinematographer Jo Willems captures the stark beauty and hostile cold of the Arctic setting. The predominantly dark and desaturated palette reflects the absence of sunlight, and the contrast of blood against snow intensifies the film’s brutal imagery. The camera work often relies on long takes and wide sH๏τs to highlight the town’s vulnerability and the thin line separating survivors from predators.

Music and Soundtrack

Composer Brian Reitzell’s score is understated, favoring ambient tones and minimalistic soundscapes over traditional melodies. This approach heightens tension by leaving viewers constantly braced for sudden horror. The sound design, from the vampires’ chilling shrieks to the crunch of snow underfoot, plays a crucial role in building an unsettling and immersive experience.

Critical Reception

30 Days of Night received generally positive reviews for its fresh take on the vampire genre. Critics praised the film’s relentless tension, striking visuals, and commitment to a harsher, more animalistic portrayal of vampires. While some viewers found the movie’s pacing and character development lacking, the overall consensus was that it delivered on atmosphere and visceral dread.

• Rotten Tomatoes: Around 51% critics’ approval at the time, with audiences more favorable due to the film’s intense horror elements.
• Metacritic: Score of around 53, indicating mixed or average reviews.

Fans of horror and creature features appreciated its refusal to romanticize vampires, while casual audiences were drawn to its survivalist narrative and inventive setting.

Box Office and Cultural Impact

30 Days of Night performed modestly at the box office, grossing over $75 million worldwide on a relatively modest budget. Over time, it has gained a cult following, often cited as one of the more memorable vampire films of the 2000s for its unique setting and unflinching brutality.

The movie’s portrayal of vampires as feral and merciless hunters influenced subsequent horror films and shows that chose to focus on the monstrous aspects of vampirism rather than the charismatic or romantic tropes.

Conclusion

30 Days of Night (2007) stands as a gripping, unyielding horror entry that challenges the conventional allure of vampires. By placing the action in a remote and lightless environment, the film intensifies the sense of dread and underscores the precariousness of life. With strong performances, particularly from Josh Hartnett and Danny Huston, combined with David Slade’s atmospheric direction, 30 Days of Night leaves a lasting impression as a cold-blooded and atmospheric thrill ride.

A Farmer’s Misplaced Hammer Led to the Largest Roman Treasure in Britain

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November 16, 1992 was the day which changed Suffolk-resident Eric Lawes’ life in a huge way. What he thought would have been an innocent search for a hammer he had misplaced on his farm in Hoxne Village, Suffolk, England ended up bringing him much more than he had bargained for — namely, uncovering the hiding spot of a long-hidden treasure. Based on the Guardian’s coverage of the story, Eric Lawes had been previously gifted a metal detector upon his retirement as a parting token. He decided to put his retirement gift to good use in order to locate the hammer which he had had some trouble finding. According to a 2018 Smithsonian Magazine article, when the device started recording that there was a strong signal coming from the earth, he knew that he was about to discover something big. As he started digging, it soon became clear to him that he had unearthed a treasure trove.

The Guardian reports that, when Lawes saw that his preliminary digging had yielded a few gold coins and silver spoons, he immediately contacted both the local archaeological society and the police department. Archaeologists came to the property the following day and had the area of earth holding the treasure carefully sectioned-off and removed. Their hope was that at a later stage, in their laboratory, they could examined the items in order to identify both their age and how they were stored.

When all was said and done, close to 60 pounds of items made from silver and gold were found on the site. These included more than 15,000 Roman coins, 200 gold objects, and several silver spoons. For archaeologists, this find — which later became labeled as the Hoxne Hoard — was an incredible discovery. AP News reported that archaeologist Judith Plouviez was over-the-moon about the discovery, saying that it was “an incredibly exciting and amazing find.” What’s more, another archaeologist, Rachel Wilkinson, told Smithsonian Magazine that this discovery was “the largest and latest ever found in Britain.”

Ordinarily, archaeologists would use radiocarbon dating as a means of identifying the age of ancient relics. However, they couldn’t locate any suitable material from the haul. Consequently, they determined the age by examining writing on the coins, as well as the ruler carved into them, estimating that the treasure was probably buried in either 408 or 409 AD.

Roman-era archaeologist Peter Guest told Smithsonian Magazine that “if you look at them a little more carefully, then they should be dated to the period after the separation of Britain from the Roman Empire.” He offers as part of his evidence the fact that almost all of the coins found in the Hoxne Hoard were clipped – in other words, small chunks of their edges had been taken off. These clippings would have been used to create coins which were similar to the Roman coins of that era.

Guest has a logical reason for this, arguing that “The Roman Empire wasn’t supplying Britain with new gold and silver coins, and in light of that, the population tried to get over this sudden cutoff in the supply of their precious metals by making the existing supplies go further.”

Archaeologists also believe that the treasure belonged to a Romano-British family. During that time, considering that there was so much societal discord and upheaval, it was common for Romans who had settled in Britain to bury their most prized possessions.

That said, one archaeologist is of the belief that the hoard had a lot of sentimental value for the Romano-British family to whom it is believed to have belonged. In her book The Hoxne Late Roman Treasure: Gold Jewellery and Silver Plate, Catherine Johns claims that the manner in which the treasure was kept supported this claim. Some of the items which were recovered had been packaged in small, wooden boxes which were lined with leather. What’s more, pieces of wood, locks, and nails, among other things, surrounded the gold and silver pieces. This leads Catherine to assert that the package was carefully buried and not simply chucked away in a rush.

Interestingly enough, the items unearthed might shed some light on the identity of the family who owned them. They cite a gold bracelet bearing the inscription “UTERE FELIX DOMINA IULIANE,” which roughly translates to “use this happily Lady Juliane”. A second name “Aurelius Ursicinus” has also been discovered. This has consequently led some to believe that Juliane and Aurelius were the couple and the original owners of the treasure. That said, that has yet to be confirmed.

All in all, the discovery was a real treasure for archaeologists, and by extension, for Lawes. According to Smithsonian Magazine, in recognition of his discovery and willingness to contact authorities, the British government rewarded him with over £1.7 million, an amount which he shared with the farmer whose land was dug out in order to get the treasure. Funnily enough, apart from the treasure, Lawes also found his lost hammer — which now resides in the British Museum.