||Daybreakers argues there still may be some new terrain to be strip-mined in the rush to exploit the bloodsucking undead. As far removed from the Twilight series as possible (with more in common with Children of Men), Daybreakers brings its vampires closer to the "classic" breed. Although no indication is provided of whether they're crucifix-shy or have a pathological distaste for garlic, they do not cast reflections, can be killed by a stake through the heart, and burst into flame when kissed by the sun (no sparkling here). It's unclear whether Daybreakers' creatures fall in love or have sex, but that's not relevant to what's going on in the film...On balance, however, there are more things to like about Daybreakers than to dislike. The production is loaded with impressive touches, some more nuanced than others. Consider for example, the opening scene in which a vampire girl allows the sun to touch her because she doesn't want to be a child for eternity, or the Starbucks-like coffee establishment that has substituted blood for cream, or the advancements the vampires have developed to protect against "sunburn." The degree to which I became engrossed in this surreal, well-considered world allowed me to overlook problems like the limited adrenaline in the action sequences, the uninspired lead performance, and an unplugged hole at the end (involving Bromley's daughter). The Spierigs evidently have a fondness for the macabre. This is their second film; their debut, which didn't reach these shores, was called Undead. In an era when the vampire concept has become marginalized by writers and movie-makers principally concerned with cashing in on a payday and promoting necrophilia, it's refreshing to discover directors who return to the old school concepts as an inspiration for something different in some ways from what we're accustomed to.